PARTICIPATING CREATORS

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Sergio Sotomayor

Oscar Seco

Florence Rodriguez Giles

Imanol Marrodan

Paula Anta

PSJM

Martin Legon

Augustine Nunez

Federico Lanzi

Nicola Constantine

Ricardo Alcaide

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Sergio Sotomayor

 

When observing the reality that surrounds us, we perceive the repetition of similar processes, both at the micro and macro level, that is, the processes are emulated regardless of their size and complexity, the essence of their function is usually the same. So, when looking at the cosmos and seeing so many stars and celestial bodies connected to each other through the radiation they emit, it is inevitable  the comparison with a large neural network. The  radiations that travel through space are within the electromagnetic spectrum, it is their wavelength that differentiates them and the universe is flooded with radiations that illuminate the matter they reach. Then the concept of the visible spectrum appears, which refers to the light that the human eye is capable of perceiving and that illustrates its reality, the rest is light that we are not able to see, colors unknown to us, but that are there and Other living beings are capable of perceiving, as is the case with ultraviolet or infrared. Could then there also be a spectrum of reality, depending on the type of brain that interprets it?

neurocosmIt is the first of the four series that make up the sample. In it an egg,  representation of the creative intention, floats in an empty space, a great concentration of energy locked in infinity  that longs to find the substratum where it settles and hatch in their search for balance and subsistence. The series illustrates  the claim to be different and to be able to generate life in its multiple representations, some of which are doomed to extinction due to maladjustment or perhaps due to emerging prematurely.

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Oscar Seco

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For more than a decade now  my work is part of a neo-pop and political-fiction aesthetic. This work materializes in the use of elements and resources from literature, cinema, poster design, advertising...

With these elements I have put together various thematic series on, for example, the chaotic relationship between man and nature or the series "Apocalypse and Alternative Worlds", a review of covert politics in cultural manifestations (B-series movies, posters, comic, advertising, etc.) during the Cold War in the fifties.

Starting from these premises, the project that I am currently developing focuses on the Spanish Civil War and its iconography, under a personal, iconoclastic, ironic and playful vision, at the same time documented and adhered to specific historical moments of our recent history.

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Florence Rodriguez Giles

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Adaptation Shore consists of fifteen photographs that present a fiction, a non-linear story with characters that only exist in their condition of representing.  Community uprooted from a supposed origin. Nature accompanies them.  They are wandering, repeating vestiges of a script that defines actions, roles, but in a state of estrangement.

The place where they appear is an abandoned building with a specific temporality, unlike the characters that lack this, they could be medieval, contemporary in disguise, ancient,  imaginary.

The photos show freezing of their actions and account for the disagreement between them and space. Fictional characters that inhabit a “real” space. In the work, a temporal superimposition becomes evident, given by the represented history and by the representation device, since the photos are digital files manipulated and re-photographed on the screen. The result is the photography of a screen, which produces a certain break in the image, a certain mediation in front of what is represented.

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Imanol Marrodan

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Interdisciplinary creator and critical thinker who has focused his work within the framework of research and contemporary artistic creation. He has exhibited his projects in numerous countries such as the United Kingdom, France, Germany, Portugal, Belgium, Korea, Argentina, Switzerland and the United States. His work has participated in numerous international contemporary art fairs as well as being present in important collections of museums and public and private institutions.

It is also worth noting his critical and managerial work in the production of different events related to art and contemporary thought.

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Paula Anta

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The images of the video Sonate nº1 “Augenmusik” K505 are structured according to the sonata form, composed of a ternary structure: exposition, bridge, development of the theme, bridge restatement and a final coda. The sound also follows this structure, combining the composition of new sound effects with the ambient sound of the place.

 The effect that the  Mozarteum in Salzburg had on me, the atmosphere, the light of the place,_cc781905-5cde-3194-bb3b-136bad5cf58med_ led me to imagine a meta in a minor key, probably an A minor, so the final coda was added, where a small minuet for double bass was composed, thus reaffirming the main key of the sonata or translated into images, its aesthetic character.

These are really separate data that can give a more technical or anecdotal character to the video. Under the need to rely on my musical training I try to make a fusion of both fields but each one is free in its interpretation. 

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PSJM

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Corporate Armies: According to a July 2007 article in The Guardian, the Russian parliament passed a law giving energy giants Gazprom and Transneft carte blanche to have armed forces that go beyond conventional security guards. The law allows these companies to articulate armies without limit of weapons. Based on this real event, PSJM launches a "political fiction" project, which is presented in the form of video, sculpture and drawing.
The video “Corporate Armies” is a trailer with a duration of 2.44 minutes. This story, made in 3D, describes a world ruled by corporations where marketing and totalitarianism come together to create an anti-utopia that aims to make the viewer reflect on the fate of globalized capitalism once it is freed from any limitations imposed by the institutions. democratic.
The three-dimensional aspect of the project is covered by the sculptures of these corporate soldiers made with 3D digital technology and which function as auratic merchandising.
The project is completed with the series of "historical drawings". Large format heroic drawings that combine a predominant Marvel style, with the European origin of our team and a certain Manga aftertaste. This style indebted to mass culture adapts to the preference for baroque composition in its strong lines and a romantic mysticism whose notion of the sublime points to war and its power of visual fascination. The futuristic heritage of this beauty-war relationship is used here to identify a certain spectacular seduction technique used by the mass media and the entertainment industry.

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Martin Legon

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Legón pauses a story of cinematographic influences. Choose a precise moment, prior to the tragedy or the climax, that induces the viewer to create the next frames or remain suspended in the tension generated by the moment. Wrapped in a sordid climate and stuck in a pre-cataclysm dead time, sustained and dragged, it flies over certain tones of the American post-beat narrative and supports it with an aesthetic that combines, without hierarchies, roots of the high and the low: the long trajectory of the history of art and the most frantic speed of the story board or the comic. But even more important is the way in which he rethinks the use of the symbolic, a visual strategy that has been devalued in recent decades. Legón appropriates the symbol as a readymade -already given element- and, without losing the historical energy that the meaning of this image has, transforms it into its fetish protagonist that it covers with contrasting characteristics, its own and borrowed, making it circulate among its series to inquire about his possible schizophrenia. 

Text by Javier Villa - The Nation

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Augustine Nunez

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Erratic fragments and disordered scores, Agustina Nuñez's drawings appear to us as the remains of luggage from a shipwrecked cruise ship in an ocean of the unconscious, floating adrift of repressed desires. Bodies, islands, stones, hair, writing an SOS in the volcanic sand of the frustration of an unfulfilled desire.

The subtlety of the line, the emptiness as a presence and the soft humidity of the watercolor submerge us in a terrifying float, to face a submerged world of childish impulses that we thought we had sunk centuries ago.

The artist seems to keep in her pencil the path to the treasure island, where, apparently, she did nothing more than untangle Chaos, separating the elements and placing each body in its proper place.

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Nicola Constantine

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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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Ricardo Alcaide

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My projects became poetically and politically involved in a discourse of multicultural exchange. How do people in different settings deal with economic and social exclusion? The physical and psychological correspondences between the surface of the body (its skin) and the temporal architecture are my main concerns. At the center of my practice is a photographic object, but one that is not limited to two dimensions. I am combining two key photographic genres: Portraiture and Urban Architectural. By combining these different genres into one practice, I think I'm contributing to the culture in an original way. For example, photographic portraits of London vagrants - their bodies scarred by their experiences, disease and urban filth - were later developed into another series in which abstract details of these London male skins were grafted onto photographs of gigantic billboards that are a characteristic of São Paulo. My practice is increasingly focused on architectural solutions to social situations. I am particularly interested in the often unrecognized debt of the Latin American Modernist Movement to the architecture of the vernacular world. I have spent many years living and working in three capital cities—my hometown of Caracas, London, and Sao Paulo—and my experiences with these vastly different economies have given me insights that profoundly inform my practice. I engage directly with photography, with specific locations which are then combined and abstracted to varying degrees to allow more universal human conditions to become apparent.

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