Abstraction in Action Karina Peisajovich: Background https://abstractioninaction.com/happenings/karina-peisajovich-background/

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Artist: Karina Peisajovich

Background
April 14, 2016 – June 4, 2016
Alejandra von Hartz Gallery
Miami, Florida

Peisajovich explores the material constitution of the image more than that of representation. Whether through her environmental lighting projects as in her drawings, she alters the sensory experience of the viewer and at the same time, prompting him/her to wonder about the construction of his/her own perceptual process. In her own words “I think of visuality as an unnatural and imaginary phenomenon, fragile, contingent and constructed at the same time. From all of this are made the images in which we live”.

With their absolute formal nudity, the drawings titled “Gradient” can be seen as time encrypted in color. The palette of these works is organized based on the tension produced by chromatic relations, manifesting the unstable parameters of the eye.

“All that sinks into light is the resonance of what the night submerges” *, it is an intervention of the Gallery’s illumination system.  Peisajovich alters the existing electrical system and the disposition of the space’s lighting fixtures, changing their role and orientation.

In relation to this work, Peisajovich says: “In the latest Light Works I was more focused on using the already existing illumination systems of the premises where I was invited to show. In art spaces, especially in museums, lighting is used to impart a certain theatricality to the works. There is something of overacting in this operation. In this sense, these works disarm and absorb this setting.”

In both, the drawings and the intervention of light, appear the idea of the pictorial background, not as an inert support, but as an active space which realizes imaginary expectations. As produced by the fluctuations of the natural light in an environment, backgrounds are planes where latent forms that have not found their place are projected.

*The title of this work is taken from the film “Passion” of Jean Luc Godard.

April 25, 2016 Abstracción temporal (Temporary Abstraction), Museo Experimental El Eco 2010 https://abstractioninaction.com/contexts/contemporary/abstraccion-temporal-temporary-abstraction-museo-experimental-el-eco-2010/

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Abstracción temporal (Temporary Abstraction), Museo Experimental El Eco 2010
UNAM
Mexico City, Mexico
2011

“Art in general, and naturally architecture as well, is a reflection of the spiritual state of the man of its time. But there is a sense that the modern architect, individualized and intellectual, exaggerates at times—perhaps due to having lost close contact with the community—when wanting to highlight architecture’s rational side excessively. […] Only by receiving true emotions from architecture, man can consider it again art.” This is an excerpt from the introduction of the book “Abstracción Temporal, Museo Experimental El Eco 2010,” which gathers different activities (or “experiments” as they call them) that took place in Museo Experimental El Eco the same year.

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Based on Mathias Goeritz’s Emotional Architecture Manifesto from 1953, El Eco establishes its grounds to understand the reason why this museum is a space for creation, experimentation and emotion in different levels. This summary of “experiments” is an interesting book that presents more than 20 examples of visual arts, architecture, music, poetry, film, performance and dance. Projects such as Pabellón Eco, Archivo Vivo de El Eco (Eco Pavilion, Live Archive of El Eco), Cine Abierto (Open Cinema), and its curator and artist residency program, are presented through interviews, visual information and letters which enhance the way the reader interacts with the book. The publication includes works, interviews, actions and interventions by Thomas Glassford, Alex Hubbard, Karina Peisajovich, Georgina Bringas, Omar Barquet, Geoffrey Farmer, El Resplandor, Marcos Castro, My Barbarian, Inger-Reidun Olsen, Frida Escobedo, José León Cerrillo, Adriana Lara, Lázaro Valiente, Melanie Smith, Rafael Ortega, Alejandra Laviada, N’Goné Fall, Sharon Houkema, Adrian Notz, Postopolis!DF, Verbatim Vortex, and José Jiménez Ortiz.

Texts by José León Cerrillo, Rita Eder, N’Goné Fall, Geoffrey Farmer, Mathias Goeritz, José Jiménez Ortiz, Jennifer Josten, Adriana Lara, Alejandra Laviada, David Miranda, My Barbarian, Adrian Notz, Tobias Ostrander, Ricardo Pohlenz, El Resplandor, Inger-Reidun Olsen, and Paola Santoscoy.

*Images taken from Arquine

January 12, 2014 Karina Peisajovich: El aire tomará esta forma https://abstractioninaction.com/happenings/karina-peisajovich-el-aire-tomara-esta-forma/

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Karina Peisajovich: El aire tomará esta forma
Sala 1º piso.
Until: Januray 12, 2014
Museo de Arte Moderno de Buenos Aires, Argentina

El Museo de Arte Moderno presenta El aire tomará esta forma de Karina Peisajovich, una obra producida integralmente por el Museo de Arte Moderno de Buenos Aires.
La luz modulará el espacio, su volumen y límites con el color y el movimiento como únicos ejes. El aire tomará esta forma materializa ante el ojo una posible representación o registro de aquello que pareciera invisible: percibir al color en absoluta desnudez formal (más allá del mundo de las líneas, los planos y sus límites) para llegar a sentir su longitud y frecuencia de onda. Peisajovich trabaja forzando el acto de ver, intentando empujar al ojo a que se encuentre con el color en estado puro, luego de una paulatina adaptación de la retina. Y que sea el ojo, posteriormente, el músculo que comience a construir imágenes: lograr recuperar la percepción como fuerza productiva al emanciparse parcialmente de su actual y constante actividad receptiva.

January 12, 2014 MACBA: Geometría al límite https://abstractioninaction.com/happenings/alejandra-barreda-fabian-burgos-silvia-gurfein-graciela-hasper-karina-peisajovich-pablo-siquier-carola-zech-geometria-al-limite/

Invitación

Geometría al límite
December 14, 2013 – March 14, 2014
MACBA
Buenos Aires, Argentina

MACBA aims to generate new approaches to current geometric abstraction with works from its permanent collection. The exhibition invites us to observe and reflect on the production of twenty-five artists who have developed their lines of researches with intensity from the 90s to present day in Argentina.

In this exhibition some of the artists use industrial materials to investigate on their technical possibilities. They use leds, car paint, adhesive scotch tapes, magnets and tarpaulin as a medium, coexisting with works made with traditional techniques such as oil painting, acrylic and silkscreen, revisited from a contemporary perspective.

On the other hand, some artists reflect on architecture and urban life, and link the experience of “inhabiting” a city with the abstract language through large format works. In the works we find explicit references to speed, spatial representational systems and the experience of living in the cities.

Many of these artists are turning to technology as subject and also as a tool in their production, both present in the process and final result of their artworks. They are torn between the digital and the analog world, reflecting the importance of information in contemporary society.

Some of these artists investigate on the pure form of art, revealing the properties of color. Among these, we find the kinetic qualities, tonal contrasts, the intensity of pigments and vibration, and even their emotional and psychological connotations.

Geometría al límite shows clearly the multiple visual and conceptual possibilities offered by this language. Far from exhausted, continues to renew itself unlimitedly under the direct imprint of each artist in dialogue with the present.

Alejandra Barreda, Carla Bertone, Cecilia Biagini, Gabriela Böer, Fabián Burgos, Juan José Cambre, Natalia Cacchiarelli, Valeria Calvo, Beto de Volder, Verónica Di Toro, Lucio Dorr, Mariano Ferrante, Jimena Fuertes, Silvia Gurfein, Graciela Hasper, Guillermo Kuitca, Julia Masvernat, Karina Peisajovich, Inés Raiteri, Roberto Scafidi, Pablo Siquier, Andrés Sobrino, Leila Tchopp, Mariano Vilela and Carola Zech.

December 10, 2013 Karina Peisajovich https://abstractioninaction.com/artists/karina-peisajovich/

Translated from Spanish

Extract from interview by Inés Katzenstein, as part of solo show “Influyentes e Influidos”, Galería Braga Menéndez Arte Contemporáneo, 2008 “I never felt much love for objects. I never framed anything, and when I thought that I need it to do it, I decided to adopt the frame as a device of the work in the same way that artifacts are presented in installations before the artifice. Geometry is always present in my work. It keeps moving. In installations, geometry acts as a force that supports a space. It constructs a deception… In these new works, the geometric frame allows me to enclose a light situation. They are architectures of a luminous space that also have shadows (shadows produced from the same immateriality). I like frames that are not orthogonal because they are unstable. (…) The work took its own path, and although my impulses are more toxic, painting keeps being a substance that guides me. Even when my work centers on the act of seeing, what happens in the retina, in the illusion of vision itself. Everything departed from that. If I think about the first painters, to paint is also to do magic.”

 

Fragmento de la entrevista con Inés Katzenstein, como parte de la muestra individual “Influyentes e Influidos”, Galería Braga Menéndez Arte Contemporáneo, 2008 “Nunca sentí mucho amor por los objetos. Nunca enmarqué nada, y cuando pensé que necesitaba hacerlo, decidí adoptar al marco como un dispositivo de la obra del mismo modo en que los artefactos se presentan en las instalaciones delatando el artificio. La geometría siempre está presente en mi obra. Se va trasladando. En las instalaciones, la geometría actúa como una fuerza que sostiene un espacio. Construye un engaño… En estas obras nuevas, el marco geométrico me sirve para acotar una situación de luz. Son arquitecturas de un espacio luminoso que también tienen penumbra (una penumbra que se produce en la misma inmaterialidad). Los marcos no ortogonales me gustan porque son inestables. (…) La obra fue tomando su propio rumbo, y aunque mis impulsos sean más tóxicos,  la pintura sigue siendo una sustancia que me orienta.  Incluso cuando trabajo en obras que se centran en el acto de ver, en lo que pasa en la retina, en la ilusión propia de la visualidad. De ahí salió todo. Si pienso en los primeros pintores, pintar es también hacer magia”.

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October 8, 2013