Daniel Dewar & Grégory Gicquel

The Nude and the Wood

29 January – 22 May 2022

Culturgest, Lisbon

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, installation view

installation view

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, installation view

installation view

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, Oak dresser with pigs, oak wood, 2019
Oak wood
136 × 165.5 × 165.5 cm (53 ½ × 65 ⅛ × 65 ⅛ inches)

Oak dresser with pigs, oak wood, 2019
Oak wood
136 × 165.5 × 165.5 cm (53 ½ × 65 ⅛ × 65 ⅛ inches)

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, Oak cabinet with body fragments, 2020
Oak wood
151 × 149.2 × 64.7 cm (59 ½ × 58 ¾ × 25 ½ inches)

Oak cabinet with body fragments, 2020
Oak wood
151 × 149.2 × 64.7 cm (59 ½ × 58 ¾ × 25 ½ inches)

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, installation view

installation view

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, installation view

installation view

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, installation view

installation view

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, Nudes X, 2020
Marbre Rosa Aurora / Rosa Aurora Marble
130 × 225 × 72 cm (51 ⅛ × 88 ⅝ × 28 ⅜ inches)

Nudes X, 2020
Marbre Rosa Aurora / Rosa Aurora Marble
130 × 225 × 72 cm (51 ⅛ × 88 ⅝ × 28 ⅜ inches)

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, installation view

installation view

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, installation view

installation view

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, Nudes IX, 2018
Portuguese pink marble
150 × 70 × 50 cm (59 × 27 ½ × 19 ⅝ inches)

Nudes IX, 2018
Portuguese pink marble
150 × 70 × 50 cm (59 × 27 ½ × 19 ⅝ inches)

Jan Kaps, Daniel Dewar & Grégory Gicquel, The Nude and the Wood, installation view

installation view

Press release

Daniel Dewar (United Kingdom, 1976) and Grégory Gicquel (France, 1975) have been collaborating since the late 1990s. Their career together began with the presentation of lengthy performances in which they would reproduce, over and over again, simple and mundane actions, such as bouncing a ball on the ground or eating an ice-cream. Shortly afterwards, this idea of a repetitive task became linked to an obsession with the productive autonomy and independence of all types of services for other people, a fact that launched them on an epic journey for the recovery of traditional professions such as working with terracotta, wood, stone or textiles, and which even led them to conceive their own instruments with which they transform these materials. The result of this work offers us glimpses of a world that is similar to ours in every respect, although just slightly distorted: augmented, fragmented, duplicated, fused, metamorphosed, as if these objects were instances of a parallel universe where the absurd is not a sign of existential angst, but precisely the opposite.