Vermelho presents, from September 1st to October 4th 2009 Asimetrías y Convergencias (halls 1 and 2), group show of 19 young Colombian artists curated by Maria Iovino.
Some of these artists are already known in Brazil and abroad, such as Nicolás París, Milena Bonilla, Carlos Bonil, Gabriel Antolinez and Ícaro Zorbar, an artist who has participated in the performance art show VERBO 2009 last July.
The group show also includes artworks by María Isabel Arango, Natalia Castañeda, Pedro Gómez-Egaña, Andrés Ramírez Gaviria, Cesar González, Kevin Simón Mancera, Luis Hernández Mellizo, Mónica Naranjo, Luisa Roa, María Isabel Rueda, Adriana Salazar, Daniel Santiago Salguero, Diana Menestrey Schwieger and Angélica Teuta.
Asimetrías y Convergencias gathers artworks where drawing appears as a starting point and later unfolds into varied possibilities comprehending not only drafts or project illustrations, which is an instrument to visualize and organize ideas, but also those drawings that become tri-dimensional and appear as sculptures or installations.
In the artist’s hand, the act of drawing allows many side actions: to trace, to erase, to blot out, to note, to draft, to scribble or doodle. Either way, the drawing is intimately related to experience. More than any other medium, drawing represents a direct relation to the artist and witnesses his/hers affecting surroundings. Therefore, drawing creates a narrative on daily life and it’s materialized in a realistic or abstract way. Due to its fragility, concision and seemingly proximity to the viewer, the drawing has a great power of seduction towards the visitor.
The selection of pieces proposed by independent curator Maria Iovino to Asimetrías y Convergencias comprises many of the characteristics mentioned above. The show includes installations, videos, animations, drawings, artist books and sculptures that relate to drawing in many different ways, sometimes tangent to it as in the muralism of María Isabel Arango and of Luisa Roa. Even though muralism may be associated to a more ancestral drawing tradition (rupestral art), here it seems to deny the surface’s bi-dimensionality of the white cube walls by running down to the floor and to the corners of the space, what breaks the rigid aseptic architecture of these art spaces.
The attempt to rupture bi-dimensionality also appears on Gabriel Antolinez’ embroideries. They take over the architectural possibilities of the space but only to subvert it by creating unusual angles and corners, what suggests relations and connections that reveal the drawing’s structure, the format, or even what comes out from the back of the paper.
Idea Corriente by Carlos Bonil is an artwork that will be set on the Vermelho’s façade. Here, drawing is an electrical procedure: there are two poles, a positive one and negative one, all independent from each other. However, a simultaneous connection triggers an idea. Many analogies could come from such a simple machine that points out to the relation between trace and format. The same aspect could be seen on Máquinas Maleducadas created by Adriana Salazar. Both installations proposed by the artist repeat everyday life actions, such as tying a shoe or pouring wine on a glass through mechanical machines, which results are overcome by the action that these tiny robots develop in space.
In Hilando Vientos, an artist book by Natalia Castañeda, drawing appears as a graphic arts mechanical procedure. This piece, which is composed of only two drawings, intends to create a draft on the movement of the winds. Similar to the folding of an accordion, the book suggests the materialization onto the verger paper of what is immaterial, or of what cannot be taken or recovered. It reinforces the fragility and finitude of drawing, and of arts in general.
Drawing as representation of the visible world could be a plausible comment to the work of Mônica Naranjo. However, a more perceptive look will notice at the apparently linear narrative proposed by the artist an entanglement of visual enigmas, mirror reflections, shadows and appearances which compose Naranjo’s optical imagery repertoire. She associates drawing to digital processes just as Nicolás París and Andrés Ramírez Gaviria do, in which they suggest some invisibility before pointing out to what’s visible.
The historical idea of drawing as a transparent representation of what is visible reappears subverted at the installation Decoración para espacios Claustrofóbicos (2009) by Angélica Teuta. The artist creates urban scenarios using miniatures and acetate prints on a glass surface and also two rear projectors. With this procedure, Teuta reverts the search for tri-dimensionality since the miniature model created on the glass reappears in a transparency game projected on the white wall.
Kevin Simón Mancera presents a series of drawings created from stimuli suggested by the artist’s walking through São Paulo city. The strolling artist walks great distances on foot while allowing him to get affected. He creates a travel journal and indexes his surroundings in old books sheets, newspapers or magazines.
Asimetrías y Convergencias is a project created by Maria Iovino with the financial support of Fundación Gilberto Alzate Avendaño (Colombia). The 19 artists in this show were selected through an open call. The project also included artistic residencies in São Paulo and in Rio de Janeiro, what made possible for Andrés Ramírez Gaviria, Kevin Simón Mancera, Luisa Roa, Adriana Salazar, Angélica Teuta and Ícaro Zobar to come and stay Brazil for a month,
The installation Hortus Conclusus created by Teresa Berlinck will be presented at the same time as Asimetrías y Convergencias, This project in process will be set at Vermelho’s terrace for three months. Hortus Conclusus focuses on today’s life constant reorganizing and transforming.
Vermelho presents, from September 1st to October 4th 2009 Asimetrías y Convergencias (halls 1 and 2), group show of 19 young Colombian artists curated by Maria Iovino.
Some of these artists are already known in Brazil and abroad, such as Nicolás París, Milena Bonilla, Carlos Bonil, Gabriel Antolinez and Ícaro Zorbar, an artist who has participated in the performance art show VERBO 2009 last July.
The group show also includes artworks by María Isabel Arango, Natalia Castañeda, Pedro Gómez-Egaña, Andrés Ramírez Gaviria, Cesar González, Kevin Simón Mancera, Luis Hernández Mellizo, Mónica Naranjo, Luisa Roa, María Isabel Rueda, Adriana Salazar, Daniel Santiago Salguero, Diana Menestrey Schwieger and Angélica Teuta.
Asimetrías y Convergencias gathers artworks where drawing appears as a starting point and later unfolds into varied possibilities comprehending not only drafts or project illustrations, which is an instrument to visualize and organize ideas, but also those drawings that become tri-dimensional and appear as sculptures or installations.
In the artist’s hand, the act of drawing allows many side actions: to trace, to erase, to blot out, to note, to draft, to scribble or doodle. Either way, the drawing is intimately related to experience. More than any other medium, drawing represents a direct relation to the artist and witnesses his/hers affecting surroundings. Therefore, drawing creates a narrative on daily life and it’s materialized in a realistic or abstract way. Due to its fragility, concision and seemingly proximity to the viewer, the drawing has a great power of seduction towards the visitor.
The selection of pieces proposed by independent curator Maria Iovino to Asimetrías y Convergencias comprises many of the characteristics mentioned above. The show includes installations, videos, animations, drawings, artist books and sculptures that relate to drawing in many different ways, sometimes tangent to it as in the muralism of María Isabel Arango and of Luisa Roa. Even though muralism may be associated to a more ancestral drawing tradition (rupestral art), here it seems to deny the surface’s bi-dimensionality of the white cube walls by running down to the floor and to the corners of the space, what breaks the rigid aseptic architecture of these art spaces.
The attempt to rupture bi-dimensionality also appears on Gabriel Antolinez’ embroideries. They take over the architectural possibilities of the space but only to subvert it by creating unusual angles and corners, what suggests relations and connections that reveal the drawing’s structure, the format, or even what comes out from the back of the paper.
Idea Corriente by Carlos Bonil is an artwork that will be set on the Vermelho’s façade. Here, drawing is an electrical procedure: there are two poles, a positive one and negative one, all independent from each other. However, a simultaneous connection triggers an idea. Many analogies could come from such a simple machine that points out to the relation between trace and format. The same aspect could be seen on Máquinas Maleducadas created by Adriana Salazar. Both installations proposed by the artist repeat everyday life actions, such as tying a shoe or pouring wine on a glass through mechanical machines, which results are overcome by the action that these tiny robots develop in space.
In Hilando Vientos, an artist book by Natalia Castañeda, drawing appears as a graphic arts mechanical procedure. This piece, which is composed of only two drawings, intends to create a draft on the movement of the winds. Similar to the folding of an accordion, the book suggests the materialization onto the verger paper of what is immaterial, or of what cannot be taken or recovered. It reinforces the fragility and finitude of drawing, and of arts in general.
Drawing as representation of the visible world could be a plausible comment to the work of Mônica Naranjo. However, a more perceptive look will notice at the apparently linear narrative proposed by the artist an entanglement of visual enigmas, mirror reflections, shadows and appearances which compose Naranjo’s optical imagery repertoire. She associates drawing to digital processes just as Nicolás París and Andrés Ramírez Gaviria do, in which they suggest some invisibility before pointing out to what’s visible.
The historical idea of drawing as a transparent representation of what is visible reappears subverted at the installation Decoración para espacios Claustrofóbicos (2009) by Angélica Teuta. The artist creates urban scenarios using miniatures and acetate prints on a glass surface and also two rear projectors. With this procedure, Teuta reverts the search for tri-dimensionality since the miniature model created on the glass reappears in a transparency game projected on the white wall.
Kevin Simón Mancera presents a series of drawings created from stimuli suggested by the artist’s walking through São Paulo city. The strolling artist walks great distances on foot while allowing him to get affected. He creates a travel journal and indexes his surroundings in old books sheets, newspapers or magazines.
Asimetrías y Convergencias is a project created by Maria Iovino with the financial support of Fundación Gilberto Alzate Avendaño (Colombia). The 19 artists in this show were selected through an open call. The project also included artistic residencies in São Paulo and in Rio de Janeiro, what made possible for Andrés Ramírez Gaviria, Kevin Simón Mancera, Luisa Roa, Adriana Salazar, Angélica Teuta and Ícaro Zobar to come and stay Brazil for a month,
The installation Hortus Conclusus created by Teresa Berlinck will be presented at the same time as Asimetrías y Convergencias, This project in process will be set at Vermelho’s terrace for three months. Hortus Conclusus focuses on today’s life constant reorganizing and transforming.