Ricardo Alcaide, Caracas, 1967

 

Venezuelan artist, descendant of Spanish, has developed most of his career in London and more recently between the cities of Madrid and São Paulo. It is these different cultures that nurture his work. Author usually linked to photography, in his latest production he incorporates sculpture and  painting as shown in the two works presented on this occasion.

 

Jose Eugenio Marchesi, Madrid, 1963

 

An artist interested in the relationship between Art and Science, he presents a set of works that reflect on genetic manipulation and its consequent products monstrous. Behind an impressive and attractive plasticity hides a fierce criticism of the disorders inflicted on the natural world and the almost extinct biodiversity.

 

Imanol Marrodan, Bilbao, 1964

 

The  works shown in this exhibition show the complex relationships that make up the personal map of the author and his identity. On the one hand Sense, (Homage to Degas) offers an ambiguous game of different readings (sense = sense, sensation, feeling) with which the author works and speculates taking as base the irrational and intuitive side of the human being. At the same time that it connects a contemporary image with the classic icon of the Renaissance Madonnas.

On the other, After time, approaches his interest in nature and the terms associated with it: solitude, contemplation and emptiness.

 

José Vera Matos, Peru, 1981

 

The democratization of symbols, the indeterminacy and the consumption of the ephemeral, represent some of the main characteristics of the contemporary world. Faced with these phenomena, José Vera recognizes himself as an active and constitutive part of this reality. In this work, he shows us close-up images, which mostly include representative symbols of Western culture. To do this, he uses drawings, in some cases accompanied by pamphleteering and biblical texts. The work requires the viewer to establish their own order and relationship between the various images, which help us to recognize the determinations that we create, despite the fact that they are inevitably vulnerable.

 

Agustina Nuñez, Buenos Aires, 1980

 

The continuous references to the animistic mind of the child and children's literature nourish the work of the Argentine artist, taking as its main characteristic being able to represent what remained hidden. Like the personification of a dream close to a nightmare. Transgressing conventional limits, the drawings appeal to the collective memory with images of a grotesque realism, of a threatening nature, but always elegantly made, allowing the viewer to participate in the ambiguous and unstable nature of the work.

 

Mônica Piloni Curitiba, PR, Brazil 1978

 

The Brazilian artist uses innocent objects and shapes from our reality, reconstructing them with a new perverse twist.  Fear and mystery take over the space of the work, creating disturbing worlds that seek self-knowledge through the decomposition of the subject.

 

Eliezer Sonnenschein, Haifa, 1967

 

No man land, the title of the work by the Israeli artist, is based on the following formula:  Nature = universe.

The truth of the universe is that the universe is inseparably linked to humans and shaped by their actions.

Scientific advances have come to this same conclusion. Quantum physics clearly concludes that matter is somehow related to consciousness and mind. This means that the truth of the universe could only be understood through a permanent observation of the phenomena that compose it. And, there is nothing permanent! So... if nature is influenced by forces that are not matter, how can my thoughts influence it?

 

Michael Wesely (Munich, 1963) & Lina Kim (São Paulo, 1965)

 

Lina Kim and Michael Wesely have been collaborating for years in carrying out various joint projects that, for the most part, are developed around the perception of the foundations of the new universal culture, where urban planning is manifested as an inevitable necessity to adapt the development of cities to their true objective and destiny.

All images, whether photographs or videos, address the ambiguities and parallel meanings hidden behind commonly applied rational principles. Images that clearly show the shadows of these principles (such as scientific, political and financial aspects), as well as their importance in the civilizing process and in the development of society.

 

Kim and Wesely try to register the desires of the inhabitants and to reduce the prejudices that cause consequences in these urban spaces such as forgetfulness and abandonment. This inscribes the experience of existing structures in their natural and cultural contexts.

 

The high concept that the current individual has of the world as something consistent and stable manifests itself as a fleeting vision, although the reality is the construction of personal perceptions.