My artistic research is focused on the analysis of the relationship between reality and illusion, understood as dynamic perceptual categories in permanent tension.
Adolfo Bimer’s practice, through paintings, sculptures and found objects, focuses on a material and metaphorical innerness of the human body.
I like to think of the closeness of objects that are constantly founding our spaces : ahead, back, up and down, also inside us. In the reality of the visible they surround us so many times, that they become invisible in front of our eyes ; and in the darkness of our imagination, fantasy and desire, they capture us.
My research focuses on the sculpture work regarding the physical weight of the pieces and their direct spatial link. The use of different materials in each piece of work involves the application of industrial techniques adapted to a task that appeals to an imagination of hand craft.
The objects of reflection in my work are the images; Images that I captured, collect, classify and dismounted to return to form them into new arrangements or alternative compositions.
My work traces, modifies, and re-imagines the complex genealogy of relationships between humans and other living beings and the underlying subjective and historical processes at play in the construction of those relationships.
I conceive art as a way of versatile approximation, where it´s key points to specific contexts are observation and adaptation, just as critics and humor.
Alfredo Jaar is an artist, architect, and filmmaker who lives and works in New York. He was born in Santiago de Chile.
My artistic practice has been characterized by large-scale installations and the appropriation of mass-produced and consumer objects. I employ techniques and strategies that are characteristic of Sculpture, Installation and Process Art.
My artistic activity is linked to the popular context, marginal spaces and the esthetic congruencies emerging from there. It basically starts from the inclusion and collaboration of these territorial strata.
Interested in the potentiality of images to embody both, ways of seeing and feeling, recent work has focused on notions of territory and territoriality. Using images and stories from the history of her country and personal records appear travellers, vagrants, migrants and tourists that hover between soft layers of landscape, domesticity and abstract space.
Fernando Prats works almost as an alchemist, smoking the old surface of representation to produce things that are not, in any way, anecdotes. His work is simultaneously a manifestation of the subjectivity and a retreat that makes us think that the hand (this appendix that has made us be what we are) is in retreat.
Fascinated by light as a material presence, which is a primordial element confined in the world revealing the surface and dimensions of space, my work departs from the interest in the possibilities of the human eye, the physiological reactions and optical phenomena.
My work is characterized for establishing relations between the conception of space, sites, landscapes, architecture and construction systems, seeking the relation that exists between the materials and its ingrained link with either crafts or technological process.
My work process is like the creation of a movie, even though the final work comes to be an object or a sculpture. The objects are charged with an almost physical memory.
My work develops in different media: installation, software and hardware development, photography, video and essay. There is a constant procedure: the recurrence of references from the Baroque, Latin American Baroque and what is conventionally called neo-Baroque.
The work of Andrea Silva-Guzmán has been shaped with an open attitude to the field of Sculpture, her discipline of origin, and the one of installations. Her proposal is based on the investigation of various materialities and the incorporation of technological resources in her work. She has considered different ways to present and relate her sculptures with the space.
My focus is on the production of works that generate relationships rather than final results, opening the object to the interaction with its physical and cultural environment to create an symbiotic dialog between both of them.
The artist’s work develops spatial and visual poetry through installation pieces and performances, where rituality is based on live interaction and orality. Her work emerges from the valoric heritage of Latin America’s and the world’s indigenous communities.
During a long period of time my work focused on the displacements of printing and photography, by means of the relation between prints and matrixes to social processes of exchange, such as education.