Filipa Oliveira

Published on Dec 12, 2012 | Filed under: TEXTS |

Author: Filipa Oliveira

Publication: exhibition catalogue

Exhibition: Junho das Artes 2010

Most of Ricardo Jacinto’s conceptual research focuses on perception mechanisms and communication forms. Sound, sculpture and architecture are the areas he explores, by building complex installations that put into question, in physical and conceptual terms, the body relationship with space and time. Térnio is both a sculpture and a hearing mechanism, a strange mechanism with no clear function or use. The strangeness of that copper-tube body is corroborated by the piece’s title – a word made up by the artist, devoid of any logical meaning – which lends it a near-scientific seriousness. Installed in one of the trees of Óbidos’ central square, Ricardo Jacinto’s sculpture, in spite of being made of copper, displays itself as an ephemeral contrivance. Nonetheless, and precisely because of its material, the sculpture is also evocative of an archaic device. By playing with primitive, obsolete systems of communication, this sculpture/device bases itself on a notion of the imperfectness of communication. The sculpture is a sound propagator with an input and two outputs, which invites viewers to play a two-person game. Someone speaks at one end, while at the other the two outputs (which should be used as earphones) reproduce that same sound after a varying time lapse.