CUE Art Foundation opens new group exhibition 'Money Has No Smell'
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CUE Art Foundation opens new group exhibition 'Money Has No Smell'
Mariana Parisca, to: Insulated Investments (after Fort Knox), 2020; wallets made from bolívares (Venezuelan hyper-inflated currency) purchased in Santa Marta, Colombia, sand, guerrilla glue, digital wall safes, LED lights; dimensions variable.



NEW YORK, NY.- On Thursday, July 21st from 6–8 pm, CUE Art Foundation opens Money Has No Smell, a group exhibition that presents the work of three artists: Ignacio Gatica, Mariana Parisca, and Gabriella Torres-Ferrer. The exhibition is curated by ACOMPI (Jack Radley and Constanza Valenzuela) and mentored by Rosario Güiraldes. It will remain on view at CUE’s gallery space at 137 West 25th Street until September 2nd, 2022.

Money Has No Smell brings together recent works by Ignacio Gatica, Mariana Parisca, and Gabriella Torres-Ferrer that trace flows of currency to and from the artists’ places of origin, in the process addressing the complexity of globalized and interdependent financial systems.

The phrase “money has no smell” suggests that our perception of capital can be untethered from and untainted by its source. Through a variety of media that utilizes both physical and digital representations of money, the works presented in the exhibition eschew easy understandings of its origin. They instead provoke a consideration of both systemic and intangible forces—neoliberalism, nationalism, colonialism—that iteratively (and often covertly) assign money value.

The three artists in Money Has No Smell render money—and the goods and services it buys—as a melange of ideologies discreetly manifested in our global systems, replete with insidious tendencies toward agglomeration of power, corporate greed, and political exploitation. Mariana Parisca’s woven altarpiece, wall safes, and lightboxes all hold remnants of the bolívar—a currency named after the 19th century Venezuelan leader—contrasting its material, economic, and subliminal values as the country experiences drastic inflation. Ignacio Gatica’s screen-based work subverts the sleek technology of the modern stock ticker and its endless scroll to warn of the inherent contradictions of capitalism and the economic disparities it has produced in Chile and across the globe. Gabriella Torres-Ferrer’s living sculptures utilize the complex history of pineapple and plantain exports and the modern technology of cryptocurrency to explore the entanglements of trade, labor, and colonialism between Puerto Rico, the United States, and other international markets. Together, the works employ methodologies of withdrawal, exchange, abstraction, and transformation—actions that mirror the movement of capital itself.

Situated in the financial epicenter of the United States in the wake of compounded global crises, Money Has No Smell presents work that navigates borders, mines and extracts resources, and creates networks of exchange among the people and places affected by the seemingly untraceable impacts of worldwide financial systems. As catalogue essayist Meghana Karnik reflects, “Within this uneasy zeitgeist, these artists channel a sense of disillusionment and a search for spiritual meaning that bring us back to basic questions of what equality, prosperity, sovereignty, and interdependence might look like.”

Ignacio Gatica (Chilean, b. 1988) lives and works in Brooklyn, New York. Gatica works in installation, sculpture, video, and text to question systems of knowledge that configure personal and collective experiences. Concerned from an analytical standpoint with the experience of urban living, his work modifies the elements that construct these socio-political spaces, merging data, materials, and theoretical frameworks to reconfigure particular views. Gatica has exhibited at SculptureCenter (Queens, NY); the Hessel Museum of Art at CCS Bard (Annandale- on-Hudson, NY); El Museo del Barrio (Manhattan, NY); Galeria Jaqueline Martins (São Paulo, Brazil); Galeria Gabriela Mistral (Santiago, Chile); Fondation Hippocrène (Paris, France); and Fundación Marso (Mexico City, Mexico), among others.

Mariana Parisca (Venezuelan/American, b. 1992) is an interdisciplinary artist and educator. She creates sculpture, installations, videos, performances, and printed matter that question and redefine the social abstractions that shape value, resource distribution, and consumption in the Americas. Her work has been shown at documenta 15 (Kassel, Germany); Mas Allá (Bogota, Colombia); Rudimento (Quito, Ecuador); NARS Foundation (Brooklyn, NY); the New Wight Biennial (Los Angeles, CA); Museum of History and Culture, Anderson Gallery, and Cherry Gallery (Richmond, VA); Virginia MOCA (Virginia Beach, VA); Bruno David Gallery (St. Louis, MO); and New Works Gallery (Chicago, IL), among others. Parisca has received numerous awards and residencies. She is currently a resident at Studio Two Three and the Visual Arts Center of Richmond, and teaches sculpture at George Mason University.

Gabriella Torres-Ferrer (Puerto Rican, b. 1987) is a multimedia artist and researcher whose practice considers futurability, power dynamics, and means of exchange in a globalized networked society. Their transmedial practice integrates new media, installation, video, web-based interventions, and other experimentations. Torres-Ferrer’s work has been shown at The Wrong New Digital Art Biennale; A.I.R. (Brooklyn, NY); Phillip Martin (Los Angeles, CA); Galería CURRO (Guadalajara, Mexico); and Embajada (San Juan, PR). Their work has also been shown at the Whitney Museum of American Art (with Occupy Museum, 2017), El Museo del Barrio (Manhattan, NY) and the Hessel Museum of Art at CCS Bard (Annandale-on-Hudson, NY, 2022). In 2020, Torres-Ferrer received a guest artist prize from CERN (Geneva) and enrolled in the Akademie Schloss Solitude’s international artist-in-residence fellowship. Torres-Ferrer is represented by Embajada (San Juan, Puerto Rico).










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