PARTICIPATING CREATORS

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nicola costantino

PSJM

Paco Mesa/ Lola Marazuela

Pep Guerrero

Imanol Marrodan

Lina Kim/Michael Weseley

Eugenio Marchesi

Jose Luis Santalla

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nicola costantino

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Nicola Costantino (1964) was born in Rosario, Argentina,  where she studied Fine Arts with a specialization in sculpture.

Cochon sur canapé (1992), his first solo show, is considered a precursor of contemporary Latin American art. In 1994 he entered the Fundación Antorchas Barracas workshop coordinated by Suárez and Benedit and moved to Buenos Aires, where he lives and works. In 1998 he represented Argentina at the Sao Paulo Biennial, and since then he has participated in numerous exhibitions in museums around the world, including Liverpool (1999), Tel Aviv (2002) and Zurich (2011). In 2000 he held a solo show at Deitch Projects (New York) and his Corset made of human fur entered the MOMA collection. In 2004 he presented Animal Motion Planet, a series of orthopedic machines for unborn animals, and Savon de Corps, a work that had a great impact in the press. The meeting with Gabriel Valansi in 2006 meant his entry into the world of photography, with more than 30 works in which his leading role is constant, embodying different personalities of art and photography. Her interest in video performance led her to create the self-referential work Trailer (2010), her first cinematographic production, and to approach a paradigmatic female historical figure such as Eva Perón in Unfinished Rhapsody (55th Venice Biennale, 2013).

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PSJM

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It behaves like a mature commercial art brand that raises questions about the artwork and the market, communicates with the consumer, and functions as an artistic quality. It does this using communication devices used by spectacular capitalism as a means to highlight the paradoxes generated by its chaotic growth.

The exhibition includes the censored work Project Asia, which was born as a public space proposal, specifically the Plaza Mayor in Gijón, where it was installed and later removed after pressure exerted by the company Adidas. In line with his other work, PSJM emphasizes the contemporary universe of brands as creators of symbolic values, abstract identities that make up the individual's own identity. The big multinational brands, authentic symbols of competitive democracy that were born in free countries, do not consider the location of their factories in countries where unionized working conditions are unknown, or even prohibited under penalty of punishment, as a contradiction. of the messages they transmit to forge their brand values, always associated with the notion of individual freedom and these brands in light boxes under the same slogan, MADE BY SLAVES FOR FREE PEOPLE (MADE BY SLAVES FOR FREE PEOPLE), a comment ironic about the real values that these brands represent.

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Paco Mesa/ Lola Marazuela

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IDEA DE NORTE is the part of the PARALELO 45º25' N project that passes through the US and Canada developed by Paco Mesa (Granada, 1967) and Lola Marazuela (Segovia, 1970).

Parallel 45º25' North is a project consisting of going around the world on this terrestrial parallel (France, Italy, Croatia, Serbia-Montenegro, Romania, Ukraine, Russia, Kazakhstan, China, Mongolia, USA and Canada) marking it every 100 km with a metal plate.

Parallel 45º 25' N is:

    -_cc781905-5cde-3194-bb3b5b-13 a radical idea of a drawing

    -_cc781905-5cde-3194-bb8d5b-13 unadventure

    -_cc781905-5cde-3194-bb3b-135 geographic exploration mission

    -_cc781905-5cde-3194-bb8d5b-13 discipline

    -_cc781905-5cde-3194-bb3b-13 where Vidac8bad5b-13 meet line

NORTH IDEA

The drive from Chedabucto Bay (Nova Scotia) west to Netarts Bay (Tillamook-Oregon) has taken almost three months during which we have put up 51 plaques reading 45º25' N Parallel, taken nearly 4,000 photographs and recorded on I video some interviews for a film with people from all over Paralelo.

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Pep Guerrero

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Pep Guerrero's painting shows features of the dominant eclecticism in all current artistic activity, taking up findings from previous artistic movements to integrate them as habitual tools in his creation: the collage applied to everyday elements and the decontextualized use of elements of popular culture link the work of Pep Guerrero with artistic tendencies such as Dadaism, Pop or the Bauhaus.

Composing his pieces with disparate but always harmonious iconographies (prints, toile de jouie landscapes or fake animal skins), the artist now incorporates reproductions of Renaissance paintings, achieving a pleasantly impressive result.

The usual Camper shoes or the most classic pieces of furniture have been replaced, this time, by simple nostalgic games evocative of an irretrievable time, of the childhood and adolescence of an entire generation.

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Imanol Marrodan

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The compositions or paintings are posed by means of two horizontal planes of fields of color  generating a horizontal line that, under our representational subconscious, we immediately interpret as a horizon in a landscape.

This image that we unconsciously re-present configures a series of sensations pre-established by our visual memory. The interesting thing about this is that the spectator who contemplates the object forms his own representative image of a landscape that is only in his subconscious. In this way the "observer" self-suggests and builds an emotional landscape based on a painted object, its color and its reflected light.

This gestalt game is deliberately provoked to observe how the semiology of a visual language is configured through our own limits of representation, often conditioned arbitrarily. In this way we can imagine that there are other languages and other ways of seeing and thinking.

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Lina Kim/Michael Weseley

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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.

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Eugenio Marchesi

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My work is based on the observation and poetry of the relationship between homosapiens and nature, treating homosapiens so that they are not different from any other species. I use the medium presented through the science of art as the fundamental expression in my projects.
The human species transforms, consumes, degrades and improves the environment for its own immediate advantage. The implications are profound, beyond what can ever be redeemed through the elastoplast offered by science and technology. The consequence of these actions will have far-reaching evolutionary effects.
The materials I use, more or less, come from nature, science and technology. My main job is to search for genetically modified crops and the genetic improvements prevalent in livestock farming. Both have been introduced into our ecosystem, the very storehouse that feeds our human life support system. Science seductively proposes to improve a large part of our lives and, in fact, it has turned against us, becoming a fundamental evolutionary weapon of the human species.

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Jose Luis Santalla

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José Luis Santalla, (Madrid, 1965) belongs to the generation that, beginning its career in the eighties, has used photography as a versatile and flexible tool, in an imaginative exploration of its narrative possibilities.

His series have followed one another as a search for limit possibilities (Manipulations) or in which duplication, since the introduction of the idea of the mirror, generates possible spaces for the imagination (Diptychs). Many of his images have tended to build allegories in which objects take on a different meaning and use, opting more for developing a discourse of stylistic fragmentation that would allow him narrative versatility from which to address specific issues, tensions, and contradictions (In Silence ).

Oscillating between the inert and the animated, and precisely from his latest series, A happy world  y Fugas, his work acquires a denser thickness, linked to a meditation on values and models in contemporary society.

 

It is precisely in these two series where Santalla begins to reflect on absence. An absence that translates, in Fugas,  into the flight of the character himself, who has disappeared. The characters have fled leaving their clothes like chrysalis that leave their carcass in a space that is a scene of their daily lives. They are reflections on the interior and the exterior, reflections, in short, on the world in which we live.

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