Artists: Mariella Agois, Miguel Aguirre, Ricardo Alcaide, Alberto Borea, Jorge Cabieses, Alberto Casari, Aldo Chaparro, Margarita Checa, César Cornejo, Dare Dovidjenko, Sandra Gamarra, Huanchaco, Billy Hare, Haroldo Higa, Edi Hirose, Fernando La Rosa, Nicolás Lamas, Julio Le Parc, Benjamín Moncloa, Vik Muniz, Musuk Nolte, Pedro Peschiera, Jorge Piqueras, Liliana Porter, Emilio Rodríguez Larraín, Valentino Sibadon, Pier Stockholm, José Tola, Adriana Tomatis, Patrick Tschudi, and Alice Wagner.
January 14 – February 6, 2015
Galeria Lucia de la Puente
Image: Alberto Borea, from the series American Deconstruction, 2015, Collage on canvas, 150 x 190 cm.
Artists: Alis / Filliol, A Kassen, Matt Bryans, Nicolas Lamas, Maximilian Schubert, Santiago Taccetti and Klaus Weber.
About Sculpture #4
November 28, 2014 – January 10, 2015
Galerie Rolando Anselmi
The project has evolved throughout the year, with four group exhibitions exploring contemporary sculpture. The artistic relevance of this medium is examined through the work of 25 international artists, born between the 60s and the 80s. The artists included in the exhibitions, ranging from established to emerging, are invited to present one piece, trying to expand and go beyond conventional debates and notions of sculpture. Their works reflect a multi-layered and contradictory image of common media definitions through the implementation of different strategies of investigation and aesthetic parameters. In this occasion we are excited to host works by Nicolas Lamas, Maximilian Schubert, Klaus Weber, A Kassen, Santiago Taccetti, Matt Bryans, Alis/Filliol. The shows aim to build a narrative in space, investigating the relationship between space and material in an effort to exhibit a heterogeneous spectrum of possibilities.
The work of Nicolas Lamas is based on a processing reflection about space, time, culture and science. Lamas formalizes his questioning using various media, playing on codes and undermining constructed perceptions and systems that govern our daily life. His work Partial View, consisting of a rock and a scanner, highlights the meeting of two heterogeneous elements, exposing the relationship between actual weight and the virtual weight of a scanned image and the impossibility of understanding an object if one only considers the surface of things. Through this, he attempts to somehow underline relativity, malleability, and the level of indeterminacy in all of which we attempt to comprehend, searching for an objective and definite truth.
In Maximilian Schubert’s wall sculptures, titled Format, lenghts of brass and copper converge at minute hinges, folding the rectangular structure into opposing angles that appear to contract and expand. These works appear paused in space, their motion arrested in one of many possible iterations. Through his works Schubert investigates and questions the concept of representation. The works are reduced to pure form, neither involving direct reference nor attempting to activate particular predetermined associations.
The two large-scale white paintings Untitled (Einstatzbereich Innen – Außen) by Santiago Taccetti, can deceive the viewer, who is forced to walk close to the canvas before realizing that no actual paint is visible. The unpredictable reaction of different material permeates Taccetti’s work, which investigates the relationship between sculpture and painting. In this occasion, the artist experimented with different kinds of household paint and used a variety of instruments to press and imprint the material into the reverse of the canvas, creating a beautiful pattern and texture on the surface of the work while the thick layers of paint remain hidden on the reverse.
Alis/filliol presents The Family (La Coperta), part of a series of sculptures started by the artists this year. The artist duo develops its research using disparate materials, mixing natural elements and industrial products, wax, plaster, mechanical grease, wood, plasticine, polystyrene. The continuous experimentation gives birth to figures with grotesque connotations, provoking a deep sense of alienation and uncertainty.
Artist group A Kassen work with performative installation and sculpture. They examine and experiment with the borders between art and non-art, as well as self invented systems that change the functions of things within a given space. In this sense, they form a critique of the institution and draw attention to how we act and navigate in a certain context. For this occasion A Kassen presents a site-specific installation, composed by small fragments of a statue. The pieces are part of a little angel’s statue once belonged to the Lauritz de Thurah’s Baroque Garden at Gl. Holtegaard in Denmark. The statue was destroyed by the artists, turned into pieces and placed for two years into the ground in front of its original place. After being removed from the garden, they are now neatly displayed on the gallery’s floor in a provocative process of re- contextualisation.
Metal items fill the floor of the second exhibition room. This is Matt Bryans’ installation, Gravermaskintenner, composed by 18 digging machine teeth sourced by the artist in Norway. The machine teeth are worn out until they have no purpose anymore and are left behind to be recycled as metal or forever discarded, depending on the fluctuating global prices of iron and steel. The pieces are consumed, revealing on the surface every single impact and dent caused by their former use. The artist has carefully collected them, refined, sanded and oiled, making them appear like some mystical objects with a completely different meaning and function.
Klaus Weber’s works call our deepest belief systems into question. With recurring motifs of death, animism and ritualism, his works provide an ironic counterpoint to the shared understanding – social, natural, scientific – that underpins our society. Weber’s Witch Ladder is an over-sized version of those used in witchcraft that allows demons to enter a place through the ceiling. Composed of feathers taken from birds bred in captivity and affixed on either side of a rope, it performs a counter-energy by troubling the conditions of reception within the functionalist rationality of the exhibition space. Weber appropriates the magical device undermining the consolidated hierarchical knowledge between producers and receivers and illustrates how our past beliefs still reverberate in the present.
Image: Nicolas Lamas, 2014, Partial view, stone, scanner, variable dimensions
Artist: Nicolás Lamas
The value of the formlessness
October 3 – November 29, 2014
19–23 February 2014
Halls 7 & 9, Feria de Madrid
Abstraction in Action presents its online platform at an institutional booth during the fair, allowing visitors to interact with the database while gaining a deeper understanding of the project and the artists involved. The website will launch a new “Projects” section during the fair, featuring exhibitions, site-specific installations, and events that AIA has produced. Along with that, AIA features new artists:
Leyla Cárdenas (Colombia, 1975), John Mario Ortiz (Colombia, 1973), G. T. Pellizzi (Mexico, 1978), Rosario López Parra (Colombia, 1970), Macaparana (Brazil, 1952), Fidel Sclavo (Uruguay, 1960), KIRIN (Argentina, 1953), Bernardo Corces (Argentina, 1988), Eduardo Santiere (Argentina, 1962), Georgina Santos (Mexico, 1988), Santiago Reyes Villaveces (Colombia, 1986), Rodrigo Sassi (Brazil, 1981), Nicolás Lamas (Peru, 1980), Nicolás Consuegra (Colombia, 1976), María Ezcurra (Argentina, 1973), Jorge Pedro Núñez (Venezuela, 1976), Jaime Ruiz Otis (RUIZCYCLE) (Mexico, 1976), Gabriel Acevedo Velarde (Peru, 1976), Edwin Monsalve (Colombia, 1984), Chiara Banfi (Brazil, 1979), Barbarita Cardozo (Colombia, 1975), Ana Belén Cantoni (Peru, 1983), Óscar Figueroa (Costa Rica, 1986), and Silvana Lacarra (Argentina, 1962)
My work derives from the interest and mistrust in constructed perceptions, which are considered to belong to a “natural order” and constantly build our notion of truth through a systematized knowledge. Most of my questioning focuses on examining the models associated with scientific research and the constant pursuit of order, measure, and control of the laws that govern the perceptible world. Through different guidelines, I analyze the relationship established between knowledge and power, and how that bond ideologically determines the way we perceive, interpret, and interact with our environment. I am interested in the search for the gaps and cracks generated in specific relations between representation systems and the notion of an objective and indisputable reality. In order to exemplify the perceived inconsistencies, I carefully manipulate images, texts, sounds and other elements that are associated with capturing, interpreting and transmitting information. Through this, I attempt to somehow put into evidence relativity, malleability, and the level of indetermination in all of which we aim to comprehend by trying to search for an objective and definite truth.
Mi trabajo parte del interés y la desconfianza hacia las percepciones construidas de aquello que pertenece a un “orden natural” y modela nuestras certezas a través de un conocimiento sistematizado. Gran parte de mis cuestionamientos se centran en examinar los modelos asociados a la investigación científica y la constante búsqueda por ordenar, medir y controlar las leyes que gobiernan el mundo perceptible. A través de ciertas consideraciones, analizo la relación que se establece entre conocimiento y poder, y cómo ese vínculo determina ideológicamente nuestro modo de percibir, interpretar e interactuar con nuestro entorno. Busco brechas y fisuras en la relación que se genera entre distintos sistemas de representación y lo que intentamos definir como realidad. Como parte de este proceso, opto por la manipulación selectiva de imágenes, textos, sonidos y otros elementos asociados a la captura, interpretación y transmisión de información. Con ello, evidencio la relatividad, maleabilidad y grado de indeterminación en todo aquello que intentamos comprender al vincularnos racionalmente en busca de una verdad objetiva y definitiva.
Selected Biographical Information
- 2013: “Reference points”, Galería Meessen De Clercq, Brussels, Belgium.
- 2012: “La inconsistencia de lo visible”, Galería Lucía de la Puente, Lima, Perú.
- 2012: “Espacio de contingencia”, NNM.Studio, Lima, Perú.
- 2011: “Backlight: la naturaleza como espectáculo”, Galería L’imaginaire , Lima, Perú.
- 2011: “Desencuadre y superficie”, Galería Lucía de la Puente, Lima, Perú.
- 2009: “Denaturaciones: Cultura y fractura”, Galería Lucía de la Puente, Lima, Perú.
- 2006: “Desborde y contención”, Galería 80m2, Lima, Perú.
- 2013: “La extensión del soporte”, Fundación Telefónica, Lima, Perú.
- 2013: “Bahuaja Sonene”, Centro de la imagen, Lima, Perú.
- 2013: Parc, International Contemporary Art Fair, Lima, Perú.
- 2013: Belfast Photo Festival 2013, Belfast, UK.
- 2013: Proyector13, International Videoart Festival, Madrid, Spain.
- 2013: “Sound In”, Matadero, Madrid, Spain.
- 2012: ” XIII Convocatoria Internacional”, Galería Luis Adelantado, Valencia, Spain.
- 2012: “Animalier: The animal in contemporary art”, Graceful art gallery and studios, Oklahoma, USA.
- 2012: “Dejar actuar al tiempo”, Fundación Telefónica, Lima, Perú.
- 2012: “Otra carne. Corporeidad, mutación y deterioro”, Centro Cultural ICPNA, Lima, Perú.
- 2012: “Poetas en tiempo de escasez”, Centro Cultural ICPNA, Lima, Perú.
- 2012: “Terra incognita: Cartografías de lugares inextistentes”, Centro Cultural de España, Lima, Perú.
- 2012: “Yo no me río de la muerte – Javier Heraud 1942-1963”, Sala Miró Quesada Garland, Lima, Perú.
- 2011: “Lima Photo 2011”, Centro de la Imagen, Lima, Perú.
- 2011: “NordArt 2011”, Kunstwerk Carlshütte, Büdelsdorf, Germnay.
- 2010: “Pasaporte para un Artista 2010”, Centro Cultural PUCP, Lima, Perú.
- 2010: “Mash up”, Centro Cultural del España, Lima, Perú.
- 2010: “ArteBo”, Bogotá, Colombia.
- 2010: “Quince años”, Galería Lucía de la Puente, Lima, Perú.
- 2008: “Visiones del arte contemporáneo en el Perú”, Galería Lucía de la Puente, Lima, Perú.
- 2008: “Tener lugar”, Fundación Telefónica, Lima, Perú.
- 2008: ” Fotografía peruana contemporánea”, Galería Animal, Santiago de Chile, Chile.