Spools, spindles, mirrors, rotated forms… the body of work presented for this exhibition constitutes a set of videos, annealed and scientific glass sculptures, and large format drawings. All revolve around the same reflection (or vacillation) on the tongue. Further, blown glass is introduced not only as creative and transformative material—unraveling some of the fabrication and manipulation processes natural to the craft—but also as a bridge between object and language, body and word.

A slip, a lapsus linguae: threads, multiple, are infinite. Attempts to translate are though limited and bound to fail, since they cannot but differ from the “original”. After all, they both suggest countless possibilities. Molten glass has to be in permanent movement in order to be shaped; language does too, so to be transformed and not swallowed by immobility. This exhibition invites to think some of these inevitable lapses together, in the intent of language or of the body itself to escape from our mouths. Everything twirls around fire.

Pablo Vindel’s 28 lapsus linguae is a journey through blown glass, video-poetry and drawing as performance documentation, all of which the artist created during and in the aftermath of his recent artist residency at the Creative Glass Center of America and Museum of American Glass. A discursive and aesthetic corpus also based on a two-year experience as Sullivan Scholar through Stetson University (DeLand, Florida)—Stetson brings him in contact with an extraordinary group of experimental poets: sound-poets, video-poets, and concrete poets with whom he has the opportunity to psychologically and physically experience different spaces of the state of Florida (USA), Santiago de Chile and Rio de Janeiro. And last but not least, a profound interest in the materiality of language and its translatability.