Archivos para las entradas con etiqueta: Cubreobjetos

Gabriel de la Mora @ Dialogues / Sicardi Ayers Bacino / July 15 – August 29, 2020

Artists: Jesús Rafael Soto, Francisco Sobrino, Carlos Cruz-Diez, Mercedes Pardo, Sérvulo Esmeraldo, Iole de Freitas, León Ferrari, Ana María Tavares, Thomas Glassford, Marco Maggi y Gabriel de la Mora.

Sicardi Ayers Bacino is pleased to present the exhibition Dialogues, on view from July 15 to August 29, 2020. This exhibition underscores the gallery’s core program since the 1990s: the search for challenging links between recognized modernists and mid-career and emerging artists.

Pioneers of the Op Art and Kinetic Art movement, Jesús Rafael Soto and Francisco Sobrino explored the viewer’s relationship to the art object, activating the space around the work through color and form. Carlos Cruz-Diez used the science of color theory to immerse the viewer in the experience of pure color. These and other artists of this generation, including Mercedes Pardo and Sérvulo Esmeraldo, were part of a vibrant expatriate community in Paris during the 1960s and 1970s. Exploring color, form, and space in two and three dimensions, they often invited the viewer to engage in a dynamic relationship with a bold colors and constantly shifting forms, as is evidenced in Sobrino’s Transformation Instable (1971/2013). Iole de Freitas, a native of Brazil who spent eight years in Italy, uses ordinary materials in sculptures that incorporate the elements of space and time.

León Ferrari spent his career between Argentina and Brazil, where he was actively involved in both the formal artistic concerns and the politics of his generation during the Argentine dictatorship in the 1960s.

In dialogue with these Modern masters, contemporary artists including Ana Maria Tavares, Thomas Glassford, Marco Maggi, and Gabriel de la Mora continue the exploration of abstraction through works with an underlying formal structure, but they ground their artistic production more in the conceptual than the perceptual realm. Ana Maria Tavares uses industrial materials to explore the emotional and psychological impact on the transformation of Latin American cities by Modern architecture and design in the mid 1990s. Glassford’s Stela series speaks to his investigation of consumerism through the lens of a ubiquitous and utilitarian object: the broomstick. While De la Mora also works with found objects, his investigations center around exploring the conceptual meaning of art and the liminal space between drawing, painting, and sculpture. Maggi invites the viewer to slow down and look closely, a notion that is highly counter-cultural in the age of technology.


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CI / 171 I – cr, 2018, Cubre-objetos de cristal para microscopio redondos sobre cartulina de museo / Glass microscope coverslips round on museum board, 51.5 x 41.5 x 6 cm / 20.27 x 16.33 x 2.36 inches.


Cristales de Inevidencia CO


A diferencia de la serie que hace uso de porta-objetos, Cristales de inevidencia CO utiliza cubre-objetos. Dado que su dimensión y grosor son menores, su tonalidad es menos azulada. De la Mora los agrupa de manera tal que cada cristal abandona los conjuntos para cobrar cierta individualidad: cada uno de ellos se inserta de forma perpendicular en la superficie y genera un juego de luz y sombra. Sin luz, el dibujo creado sobre la superficie desaparece; con luz la obra adquiere una tridimensionalidad donde cohabitan el dibujo y la arquitectura, y se crean una infinitud de composiciones que variarán de acuerdo con la fuente de luz y su posición. Es así que a diferencia del estatismo de un dibujo o una pintura, las obras de esta serie cambian por completo dependiendo de la iluminación que le haya sido provista a cada pieza.

La precisión, la exactitud y la pulcritud son los valores que guían a la presente serie. A diferencia de Cristales de inevidencia PO, cuyas composiciones en bloque son reminiscentes del constructivismo soviético, el resultado de esta serie recuerda, por el contrario, a obras del concretismo brasileño donde la repetición abre el campo al lirismo y a la percepción sensible.


Cristales de Inevidencia CO

2014 – ONGOING

As hinted by its title, conversely to the series that makes use of microscope slides, Crystals of non-evidence CS employs cover slides. De la Mora groups the cover slides, which are thinner and less blue-toned that the microscope slides, in such a fashion that each crystal abandons the groups in order to gain a certain individuality: each of them is perpendicularly inserted into the surface to create an interplay of light and shadow. Whenever it is not illuminated, the drawing that is projected onto the surface disappears; thanks to the light it acquires a three-dimensionality where drawing and architecture coexist. An infinite number of compositions are created, and they will vary according to the light source and its position.

Precision, exactness, and neatness are the values guiding the series. Unlike Crystals of non-evidence MS, whose block compositions are reminiscent of Soviet constructivism, the outcome of this series reminds us of the works produced by the Brazilian concrete artists, in which repetition opened the path to lyricism and sensible perception.

CI / 63 I - cl, 2017

CI / 63 I – cl, 2017. Laca sobre cubreobjetos de cristal para microscopio sobre cartulina de museo / Lacquer on glass microscope coverslips on museum board 40 x 50 x 6 cm – 15.74 x 19.68 x 2.36 inches. Serie Cristales de Inevidencia / Crystals of Inevidence series.