PARTICIPATING CREATORS

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Amadeo Azar

Federico Lanzi

Martin Legon

Jose Luis Serzo

Florence Rodriguez Giles

nicola costantino

Jose Luis Santalla

Santiago Talavera

Activity carried out with the help of the Ministry of Culture

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Amadeo Azar

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Amadeo Azar's painting speaks of absences, his recurring themes are architectural spaces executed with a technique reminiscent of the illustrations in kitchen or office furniture catalogues. El  cine también  ocupa un lugar importante en el desarrollo de sus temas, utilizando  escenas de películas  emblematic as Pulp Fiction. In these spaces conspicuously, human beings have disappeared. By omission, their presence becomes more poignant, more palpable. As if only a few moments before, they had been sitting on the furniture or eating breakfast. It is the moment that the painter has chosen to "portray" them. Thus, the linear narrative is interrupted, leaving  in the viewer's hands to finish the story…or start it.

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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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Jose Luis Serzo

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Blinky Rotred has decided to achieve his dream, balance the elements of his reality and take advantage of the wind in favor to rise. Fly. Fly over the land and the wheat fields, touch the clouds and feel the cold of the heights while the sun shows its day illuminating everything.
To rise like a simple kite, in a simple kite, an extension of itself. As they already did in China, according to Marco Polo, to augur naval voyages. For this, he has the help of his close people, his wife Beatrice, who will hold Blinky's rope at all times so that he does not get lost in the air; his faithful friend, the architect G. del Olmo, who will solve the technical and aerodynamic problems of his flight; the designer Mateos will help him solve the flight suit, and even the Mole Man himself, his admired antagonist, will serve as a reference and example for how expensive it is to pursue a dream. All of them will trust your project and will be willing to help you.
The fantastic flight of the comet man" tells us about a simple and eternal adventure in the history of humanity: the dream of flying. Narrated through multiple disciplines: painting, photography, referential objects, sculpture, video, and presented as a mockumentary in an exhibition where reality and fiction go hand in hand to overwhelm us with a new legend.

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nicola costantino

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Nicola Costantino was born in Rosario, Argentina (1964), where he trained and took his first professional steps until he moved to Buenos Aires in 1994 to participate in the Fundación Antorchas' Barracas Workshop, coordinated by Pablo Suárez and Luis Fernando Benedit.
Since 1997, its presence in the international circuit is consolidated with its participation in different fairs and biennials. In 1998 he represented Argentina at the Sao Paulo Biennial and at the first Liverpool Biennial. A male nipple corset became part of the MOMA collection. Later he would show his work at the MNBA in Buenos Aires and in the project room of the Fundación Joan Miró in Barcelona.
The year 2004 is a year of inflection in his career: on the one hand, he culminates the series Animal, Motion Planet, which marks the end of his investigations with fur and animals; At the same time, he “launched” Savon de corps at MALBA, the first time he became the protagonist of his own work.
Two years later, his meeting with Gabriel Valansi, means his entry into the world of photography with two lines of work: references to significant works in the history of art and those in which he crosses elements of his imaginary or identity as an artist. The constant is the iconographic role of the author herself.

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Jose Luis Santalla

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We leave behind a century in which the foundations of what we will find in the future have been firmly established. An uncertain future, more unknown than unimaginable. That is why imagination has become a necessity, an essential tool to support the pace of life we lead. It makes work and leisure easier for us and it can even provide us with some money to cheer us up.

life if we know how to sell a good idea; but above all, and this is the most important thing, it guarantees our mental health. It is the best health insurance

we could find ourselves in a world that gives you everything you could want with one hand while with the other takes it away at the least carelessness, leaving you empty, alone and useless.

This is how this project was born, as a product of the imagination based on the inventiveness of a novel and taken to the quicksand terrain of photographic language, where the concepts of reality or fiction are best questioned. The first step was to find out if those characters in the novel could already exist among us. Then they would have to be photographed to be able to identify and classify them, as if it were a film casting, and thus obtain

finally the desired portrait.

To my surprise, it didn't take me long to find what I was looking for. It was in the street while I was walking that I discovered one of them, and then, like lightning, another and another appeared. I didn't have to pull them out of thin air or transform faces on a computer; the characters existed and were therefore photographable. They were everywhere, mixed in with us, and yet I had never been aware of their existence before. They are not strange to us because we are used to their presence, but we have rarely held them that look that

they have, so silent and human…

They have seen us grow and over time have subtly taught us how we should dress, at each age and in each specific event. They know us very well. They are calm characters that haunt us in a disturbing way; attractive, with a balanced personality seasoned in most of them with an exuberant sensuality. Physically perfect, eternally young, they are definitely the most exemplary, those who through their own merits become part of what could be called a happy world.

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Santiago Talavera

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Santiago Talavera's interest in fragmentary spaces recreates in the works in this exhibition a strange universe, both tender and terrible, where the pieces that make it up have embarked on a path of risk. The objects are ambivalent: miniaturized, spilled by some unforeseen event or ready to be rediscovered. The scenarios could be models of a child, and what happens in them evokes a (sometimes) necessary disaster to readjust reality; a calculated and risk-free chaos, because we feel more at ease or to the extent of our strength in front of a chess board than in view, improbable and cumbersome, of the infinity of the universe.[...]1_cc781905-5cde-3194 -bb3b-136bad5cf58d_

1.  Ángel González García. Painting without a clue and other essays on art. Madrid.2007

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