The Geo_lógica series, by Marcelo Moscheta, is based on images collected in old geology and geography manuals. Encyclopedic and iconographic knowledge, reference images and dictionary definitions – all expanded and altered – constitute the materiality of the works.

This set of scientific references is added to family memories, creating affective and biographical approaches. These references of different types are found in images of human bodies used as a measure of scale for analyzed (or constructed) landscapes.

For these images that are intended to be sculptural and spatial, the artist advances the limits of the paintings, projecting the compositions onto wooden structures.

The series Gigantica Amazonica takes as a starting point an immersion trip that Moscheta took through the Amazon. In the series, the artist works with photographs by German Albert Frisch (1840-1918), creating a game of fiction based on the monumentality of the Amazonian botany. Moscheta makes digital assemblages over Frisch’s photos, adding gigantic foliage over them. Next to the photo, the artist shows a “real-size” drawing of the leaf photographed. The story of Frisch himself flirts with fiction. Born in 1840 in Bavaria, the photographer was, until the end of the 20th century, a mysterious character in the Brazilian history of photography and many assumed that he had never existed. Frisch made, in 1867, a series of 98 photographs in the Amazon, from an expedition in the region.

The Geo_lógica series, by Marcelo Moscheta, is based on images collected in old geology and geography manuals. Encyclopedic and iconographic knowledge, reference images and dictionary definitions – all expanded and altered – constitute the materiality of the works.

This set of scientific references is added to family memories, creating affective and biographical approaches. These references of different types are found in images of human bodies used as a measure of scale for analyzed (or constructed) landscapes.

For these images that are intended to be sculptural and spatial, the artist advances the limits of the paintings, projecting the compositions onto wooden structures.

The Geo_lógica series, by Marcelo Moscheta, is based on images collected in old geology and geography manuals. Encyclopedic and iconographic knowledge, reference images and dictionary definitions – all expanded and altered – constitute the materiality of the works.

This set of scientific references is added to family memories, creating affective and biographical approaches. These references of different types are found in images of human bodies used as a measure of scale for analyzed (or constructed) landscapes.

For these images that are intended to be sculptural and spatial, the artist advances the limits of the paintings, projecting the compositions onto wooden structures.

The Geo_lógica series, by Marcelo Moscheta, is based on images collected in old geology and geography manuals. Encyclopedic and iconographic knowledge, reference images and dictionary definitions – all expanded and altered – constitute the materiality of the works.

This set of scientific references is added to family memories, creating affective and biographical approaches. These references of different types are found in images of human bodies used as a measure of scale for analyzed (or constructed) landscapes.

For these images that are intended to be sculptural and spatial, the artist advances the limits of the paintings, projecting the compositions onto wooden structures.

Archives relates to two previous series by Iván Argote: La Puesta en Marcha de un Sistema and Covers. Digging into historical issues and imagery regarding the impact of ideological wars, these layered compositions behave as allegories on how our subjective experience is conditioned by external forces linked to a certain idea of progress and truth. These ideas, in turn, are shaped by historical centers of power to their own conveniences and perdurability. The layering of materials creates the appearance of images and texts confronting slogans and statements; in addition, superimposed with found imagery, these works create a texture with multiple possibilities of comprehension.

Ladrillo mordido [Bitten Brick] is an artisanal brick, cast in iron, made and bitten by the artist. Iván Argote refers to the brick as an essential element in the construction and reconstruction of history and his bite symbolizes how these constructs are permeated by individuals.