Archivos para las entradas con etiqueta: Group Show

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.

 

https://www.sicardi.com/exhibitions/dialogues

www.sicardi.com

www.gabrieldelamora.com

 

http://nilsstaerk.dk/exhibitions/tactility/

Photos: Erling Lykke Jeppesen

We are very pleased to present the exhibition Tactility with new works by Markus Amm, Michael Dean, Adam McEwen, Gabriel de la Mora, Sam Moyer and Tove Storch.

The word tactility is used to describe an object’s tangible/textural quality, and is perceptible by touch. All of the contributing artists work with an individual idiom and each of them emphasises texture over concept.

Different materials create different surfaces, textures and tactile sensations. Of course different materials also establish different meanings. This is the theme and point of departure for this exhibition. Understandably these meanings are difficult to communicate through texts: because how do you describe an artwork without conceptualizing it? If the meaning of the artwork lies not in the idea but in its physical presence? If the experience of the actual material is more significant?

Stretched coloured silk pieces and a surface of ash grey folded fabric – this is an approximate description of both Storch and Moyer’s works. It describes something of the works appearance and the artistic methods applied. However that in-itself cannot be an adequate account. We cannot touch the art and therefore cannot sense its tactile quality in a normal fashion. In this case we experience the artworks physical presence, we sense something that is not easily articulated. The associations are of another kind than the ones you find equivalent in language. We must feel with our eyes and our movements in the room so as to experience the presence of the works in another manner.

When the image becomes a presentation rather than a representation we may allow language to surrender. The image becomes a phenomenon, an appearance in itself.

Our everyday language falls short in communicating these works in a satisfactory manner. Even an academic language cannot grasp it. The works pique our curiosity, and their ineffability can be a catalyst for a dynamic long-term relationship. Because of this interactivity the experience of the works can never be maintained in a static description and their desirability will remain.

Perhaps the problem revolves more around the general inadequacy of language in relation to the work than the incomprehensibility of a particular art-language.

Rather than attempting to comprehend and grasp the work one should perhaps let themself be encapsulated by it. Be moved by the imagery more than simplify it into a conventional language where the word tactility is only a poor substitute for the experience itself.

OPINIONE-LATINA_1-1-webd

INFO@FRANCESCAMININI.IT

WWW.FRANCESCAMININI.IT

 

OPINIONE LATINA |1

 

The first stop of a journey through Latin America, OPINIONE LATINA gives voice to an aesthetic dimension so lively and energetic that it defies classification in any single style, embracing and reinterpreting the most contemporary currents in visual research.

The coexistence of such diverse expressions brings to life a cultural panorama full of variety, rich incontradictions and stimuli that reflect the economic and political complexity of these countries. Social urgency, a sense of disorientation and nostalgia, revisiting the past, and bonds with nature are some of the themes explored by the artists whose work is on display.

 

José Dávila, 1974 Mexico. Dávila’s work is part of the declared reinterpretation of modernist and minimalist models. Homage to the Square is a critical tribute to the work of Josef Albers, which is strengthened and amplified by the Mexican artist. Through a conscious and analytic appropriation Dávila broadens the scope of his predecessor by superimposing a series of square glasses over the monochrome paintings, to create an echo of colors of various tonalities made by the light which filtres through.

 

Gabriel de la Mora, 1968 Mexico. A strong temporal dimension pervades the work of De la Mora, a meticulous and passionate researcher of plafonds and ceiling decorations of Mexican buildings of the late 19th century, painstakingly reassembled of aluminium and thus bringing to life an artistic expression that hovers between painting, design and sculpture, bestowing a new eternity to these remains so full of memories of stories from the past.

 

Jorge Pedro Núñez, 1976 Venezuela. Word play and artistic references, a dip into Neoconcretism through a special revisitation: Lygia Clark and Lucio Fontana are the two points of reference for the work Untitled (Fontana) that Núñez uses to reinvent the concept of space in art through the creation of new forms.

 

Amalia Pica, 1978 Argentina. Nostalgia and humor permeate the 35mm slideshow Islands by the London-based Argentine artist. The work plays with the symbols that Europeans often associate with the idea of America Latina and is full of melancholy for a world that is far away. A boy draws an island with a palm on an expanse of snow. The bucket becomes his coconut. Pica works with sculptures, drawings, and projections which often suggest the lack of standardized systems of communication.

 

Wilfredo Prieto, 1978 Cuba. Three small works that are so dense they evoke worlds of oppression and violations (Apartheid), of political hegemonies and repressions (Pinochet), and of modern globalizad societies (Coca-Cola). Prieto’s jigsaw pieces implode in their expressive and evocative force. The Cuban artist, who is fully capable of grand monumental works, conserves and amplifies his creative energy in a small and precious puzzle pattern that rises to the level of an icon of social, political and economic criticism.

 

Thiago Rocha Pitta, 1980 Brazil. Movement, transformation, and harmony with nature are the

sensations evoked by the Brazilian artist. Two instants of a drop of honey running over a rocky terrain, the amber color, the glittering reflection of the sun, transmit a sense of wonder that makes us feel part of a natural process in progress. Rocha Pitta’s work evokes a sense of impermanence that the infallible power – for us still thick with uncertainties – of nature exercises unceasingly, thus becoming a co-author along with the artist.

 

Martin Soto Climent, 1977 Mexico. With a simple creative gesture Soto Climent inaugurates a new vocabulary of signs: in his work everyday household objects are invested with an unexpected aesthetic strength. Tension between movement and space, the forces of separation and attraction, masculine and feminine elements are contrasting energies that dialogue in his works, seen not as elements in opposition but rather as two complementary parts that define themselves against each other.

 

Antonio Vega Macotela, 1980 Mexico. The impenetrable communication code used by Mexican drug traffickers becomes an installation with an almost sacred aura, a hymn of reverence and fear. Murmurs, whispers from that the pages of El Sol de Mexico. An imprisoned drug dealer taught the artist the anamorphic code used to communicate with the outside world. Only by approaching the wall on one’s knees do the messages reveal themselves, forcing the viewer into a position that recalls praying or the prelude to a cruel execution, thus rendering us accomplices or condemned.