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AFFORDABLE MILÁN

25  - 27 enero 2019

Superstudio Più, Milán

Rubén Fernández Castón - Entrelíneas III
Rubén Fernández Castón - Entrelíneas V
Rubén Fernández Castón - Veletas, Urracas y Otros Reflejos II
'Passing I'_40x40cm_Mixedmediaonboard_2018_€750
Mairi Timoney - Passing I
Mairi Timoney - Shoreline II
Mairi Timoney - Form
Mairi Timoney - Visit
Mairi Timoney - Structure II
Mairi Timoney - Still I
Mairi Timoney - Structure VI
Mairi Timoney - Still II
Rubén Fernández Castón - Veletas, Urracas y Otros reflejos III

 

PARTICIPATING CREATORS

 

Jose Eugenio Marchesi

Michael Wesely & Lina Kim

nicola costantino

Oscar Seco

PSJM

 

Jose Eugenio Marchesi

 

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.
 

Michael Wesely & Lina Kim

 

The research projects that the artists Lina Kim and Michael Wesely have carried out collaboratively for many years mainly aim at the perception of the foundation of a new universal culture. Urban planning is considered an unavoidable necessity to adapt the future development of cities to their true objectives and purposes.

All images, whether in photos or in movies, consist mainly of ambiguities and parallel meanings of commonly applied rational principles and show very clearly what remains in the shadow of these principles, that is that is, scientific, political and economic foundations, the development of society in the process of civilization and its meanings.

Kim and Wesely constantly and tirelessly seek to record people's wishes and reduce the biases that have consequences for sites and even cause their neglect, whether the sites are inhabited or not. This inscribes the experience of existing structures in their natural and cultural context.

The high concept of the contemporary person, culture and nature in a consistent world, shows itself in a vision or even a fleeting glimpse, even if reality may only be the builder of personal perceptions.

nicola costantino

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).

Oscar Seco

Modern fantasy literature arose from myth and the supernatural, from humanist-posivist utopia and harrowing anti-utopian satire, from musings on the future, from extraordinary journeys, from the exploration of horror. Masters of the past ranging from Plato to Lucian, from Rabe-lais to Fourier, Swift and Butler, from Restif de la Bretonne to Mercier, Defoe, Verne, Allan Poe, Conan Doyle, Tolkien, Lovecraft and Wells have tapped this rich vein that It has produced current science fiction, a field in which the domination of time, the conquest of space, and a future existence linked to artificial life are all quintessential themes.

Oscar Seco has taken advantage of many of these sources to establish his own particular pictorial university. Following his laid-back opening arc as a devourer of comic books and Hollywood B movies, his work has developed itself into some of the pioneering feats of fantasy literature and related genres. His personal ideas have emerged from sources as diverse as Alexandre Dumas and Stevenson, Chesterton and Con¬rad, Faulkner and London, not forgetting the Borges of The Book of Imaginary Beings and the prolific Ballard, whose titles, written in the 1960s and seventy, often coincide with those given by the painter to his own works.

Continuing with the references to the art world, we can also find traces of the Russian avant-garde movement in some specific works and the great graphic design of that time, to which he declares himself indebted; Picabia's machines or Magritte's paradoxical world also appear in many of his works. But the interesting point here is how it overrides the value scales of its referents; here, surrealism and pop are mixed both in their iconographic aspects and in their ideological derivations, but seen in an irreverent and, as we have already pointed out, almost paradoxical way. Like any modernist looking for himself, Seco uses everything he can use to compose his crazy and excessive universes.

PSJM

PSJM behaves like a mature commercial art brand that raises questions about the artwork and the market, communication with the consumer and works as an artistic quality. It does this by employing the communication devices used by spectacular capitalism as a means of highlighting the paradoxes generated by its chaotic growth.
The exhibition includes the censored work Project Asia, which arose as a proposal for a public space, specifically the Plaza Mayor in Gijón, where it was installed and later removed due to pressure exerted by the company Adidas. In line with his other work, PSJM focuses attention on the contemporary universe of brands as creators of symbolic values, abstract identities that shape the individual's own identity. The big multinational brands, true symbols of competitive democracy that were born in free countries, receive help in their farms, do not consider locating their factories in countries where unionized working conditions are unknown, or even prohibited under penalty of punishment, as a contradiction the messages they transmit to forge their brand values, which are always associated with the notion of individual freedom and these brands in light boxes under the same motto, MADE BY SLAVES FOR FREE PEOPLE, an ironic comment on the real values of these brands represent.

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