Near by Far is a conceptual matrix which calls for a game of asymmetric logic, one of insoluble cases, juxtapositions and a continuous whole. Occupying the entire exhibition space, The Witch (1979-1981) is based on a simple premise, a broom that dirties instead of cleaning. 7,000 kilometers of yarn take possession of the former airport’s modern structures, pouring down the stairs to invade other works outside. Fluctuating between chaos and order, the threads of The Witch also configure the Virtual Volumes (1968-1969), sculptures of architectural fantasy which overstep the bounds of Euclidian geometry, constantly deforming and elongating space beyond its planes. Meireles’s first sound experimentation, Mebs/Caraxia (1970-1971) can be heard in two rooms, a sound sculpture of topology which turns space into time and fraction into a dynamic process of totality. Cildo Meireles proposes a well-rounded yet paradoxical reflection which opens the door to other possible orders through the shock of sheer indetermination.
