{"id":39606,"date":"2025-02-17T11:56:43","date_gmt":"2025-02-17T11:56:43","guid":{"rendered":"https:\/\/artizar.es\/exposicion\/hans-lemmen-dogs-on-the-rocks\/"},"modified":"2025-03-27T12:47:47","modified_gmt":"2025-03-27T12:47:47","slug":"hans-lemmen-dogs-on-the-rocks","status":"publish","type":"expo","link":"https:\/\/artizar.es\/en\/exhibition\/hans-lemmen-dogs-on-the-rocks\/","title":{"rendered":"Hans Lemmen \/ Dogs on the Rocks"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

HANS LEMMEN<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Dogs on the rocks<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

FEB, 22. 2025 - APR, 5. 2025<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Hans Lemmen, horizon and mask<\/strong><\/em><\/p>\n

Alejandro Krawietz<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Something primitive, very old, something akin to a movement, a first vibration of the planet, stirs and resonates in the work of Hans Lemmen. Something that invites humanity to climb down the ladder of time, to sense distant lineages woven into our dormant memory, braided into the mask of the beginning. A painting, drawings destined to allow our return, our regression: to attain the innocent destiny of life beyond time. To return to the place\u2014to the place of time, to the place on the other side of time\u2014where metaphors were not a miracle, but a method of knowledge, the wings of a decisive revelation. A territory in which being the other was not necessarily about shaping the mask, but about reviving the physical possibilities of trust in mystery and planetary changes. The metamorphoses, the infinite combinatorial, in the instant. In that territory, animal time flourished: and the bear skin was not a costume, but the skin of the man who dreamed in the heart of the forest with the gesture of a hand that makes magic. The time when the forest became horizon, and the horizon a machine for vision: then the transmission towers fulfilled the mission of the mills, and humanity howled in its body and in the skin of the wolf: Man devoured the wolf in order to be howled. A time without time. The other side of just enough time. An eternity that ends just beyond the horizon, in which nature itself becomes the screen of miracles and reflects\u2014embodies \u2014a dream of transmaterialisations. Sun of Vertumnus in which violence and joy are a matter of solidarity. The dog follows its shepherd, but the shepherd is still the pelt of the dog, the one who howls at the moon before naming the moon, before the shepherd, at that moment, is eaten by the wolf. Just when the song ends. There, in Lemmen\u2019s painting and drawings, is the howling man who is the howling wolf: the one who still does not understand what the moon is because he himself is, precisely, the moon. Who still does not understand what the body is, because he is infinitely body. Who still does not understand what the mask is, because he is infinitely mask.<\/p>\n

Lemmen is always better in riddles, always better in mysteries.<\/p>\n

 <\/p>\n

*<\/p>\n

 <\/p>\n

The burier, the half deer Roger Caillois, founder of noon and its fateful miracles, inquired into the imaginary dimensions of stones, the metaphorical metamorphoses of rocks, the truth of the flawless disc that languishes like a funereal sun at the centre of an aseptic firmament. Caillois points out that this stone floating on the same landscape from which it was individualised was taken to a terrible incandescence and forged in a monstrous anvil through the distant, inaccessible, adventurous journey of the history of the planet. Stone: wisdom that is made form. Islanders, sitting on a memory stone ( I am in the wind and rain, here, barefoot, \/ sitting on a memory stone <\/em>, says Vitorino Nem\u00e9sio). The rock is like a word, because it is there, in the desert, floating in its own gravity, telling itself. All the time. Stone sleeping in the dream of veins (Caillois). So too the rocks of Hans Lemmen, visionary rocks, ready to magnetise images, to make them return to themselves: what it means to turn them over the world. Huge stones, which question us. We imagine that they burn from within. We imagine that this burning is called time. Lava from the beginning, lava from the beings thrown into time, far from the images, condemned by them. Lava that comes from the single star, from the star it might have been. It is Lemmen’s geological wonder: stone that speaks. Lost images for man, distant cults, lost in the dying moments of the beginning. We just need to know how to listen to what the stone is saying, to understand that language of stone, that whispering of screams poured into the water basin, into the empty skull, the eye that contemplates, from afar, crushed by the horizon. Floating island: how many times have we not seen it, there, on the threshold of the limit, sprinkled with the light that arrives and wounds, with the multiplied sun, deposited at the apex of sea and sky, submerged in its continual swinging in time?<\/p>\n

It is split apart by lightning: now it is humanity\u2014the now\u2014that contemplates, crushed by the horizon.<\/p>\n

 <\/p>\n

*<\/p>\n

 <\/p>\n

Hans Lemmen’s drawings belong to an order of history that predates history. The time of eons, not the time of Chronos. In that sphere, in that place that did not find its time, that mask-moment, all looking is reflection, it is a lit universe, inhabitant, all home. Looking there is like awakening the monsters, because in that matrix everything is exception, everything is new, everything is being that cannot die. Everything that remains outside the home\u2014which is a presence, a single enclosure, an area protected from thundering breadth\u2014becomes a monster: the sun itself, the sky itself, the air. There, inside the home\u2014inside the imagined interior of the home\u2014crouched like a skunk, the imagination produces itself as a song of mystery. In front of the home, from the crouching viewing point, man begins to separate from nature, casts off the wolf skin, the bear heart, the crackling of steps as the deer picks its way through the undergrowth. They begin there, at the doors of the floating home, of the home that is gesture, of the home that is carved with the branches of the oak tree. Man begins to be man, begins to understand nature because he is no longer nature. Home on its own is the monster. It proposes the gravity of masks and their winds of rotation. Man rides over the home in search of the Elf King who brings upon him the condemnation of separation, the temptation of the intra muros<\/em>. We pay the price for inhabiting, the burden of the interregnum, the human need to inhabit time. We return to a matter that wanes, a matter that becomes mother.<\/p>\n

Lemmen urges us to stay outside, in the tempestuous elements. He knows that something in us will not survive the first caresses of maternal matter. How to appease the animal that bites us in our heart of hearts, the animal that grinds its jaws against us, that crouches in the human while yearning to leap out once more? There is the hut, on the horizon of events, on the horizon of expectations, in the supplement of meat, blood, calories. Lemmen\u2019s propositions us.<\/p>\n

Never stop being the moon.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t\tSelected works\t\t\t\t<\/span>\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t
<\/div>\n\t\t\t\t
<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\tComplete list\t\t\t\t\t<\/h2>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t
\n\t\t\t\t
<\/div>\n\t\t\t\t
<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\tmore about\t\t\t\t\t<\/h2>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t

HANS LEMMEN<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

See this exhibition at<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"featured_media":0,"template":"","class_list":["post-39606","expo","type-expo","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/artizar.es\/en\/wp-json\/wp\/v2\/expo\/39606","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artizar.es\/en\/wp-json\/wp\/v2\/expo"}],"about":[{"href":"https:\/\/artizar.es\/en\/wp-json\/wp\/v2\/types\/expo"}],"version-history":[{"count":4,"href":"https:\/\/artizar.es\/en\/wp-json\/wp\/v2\/expo\/39606\/revisions"}],"predecessor-version":[{"id":40567,"href":"https:\/\/artizar.es\/en\/wp-json\/wp\/v2\/expo\/39606\/revisions\/40567"}],"wp:attachment":[{"href":"https:\/\/artizar.es\/en\/wp-json\/wp\/v2\/media?parent=39606"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}