Exhibition showcases diverse ways in which space can be depicted and explored

The First Art Newspaper on the Net    Established in 1996 Monday, April 22, 2024


Exhibition showcases diverse ways in which space can be depicted and explored
Gabriel Orozco, Suisai XXXIX a, 2016. Watercolour on gold card. Frame Size: 78.7 x 69.1 x 4.5 cm (30.98 x 27.2 x 1.77 in.) Artwork Size: 52 x 45 cm (20.47 x 17.72 in.)



COMPORTA.- Fortes D’Aloia & Gabriel (São Paulo and Rio de Janeiro) is hosting kurimanzutto (New York and Mexico City) for a collaborative exhibition at Casa da Cultura da Comporta. The meeting of the two galleries’ programs presents a chance to explore works spanning distinct genres, techniques, and geographies within a unified curatorial perspective.

The exhibition unfolds in two acts. The first act opened on July 8 and proposes the natural world as that which is external to us. The selection of works showcase diverse ways in which space can be depicted and explored, encompassing intricate investigations on architecture and landscapes. Through varied applications of forms and materials, the sculptures, photographs, and paintings in act one collapse the delineation between organic and constructed space.

Plants teeter between the abstract and the figural in the work of Gabriel Orozco (Mexico, 1962). In his Suisai series (2016), daubs of pale green, mauve, and ochre ink gather in mimetic forms of nature. Within the pools of ink are a familiar lexicon of geometric circles enhanced by the schematic arrangement found in Dé Fruit (2017). Orozco’s work reveals cyclic actions that unfold in nature as they mediate between the geometric and the organic, stillness and movement.

In Luiz Zerbini’s (Brazil, 1959) large-scale painting Musa Miraculosa (2023), layers of intricate patterns form complex prints of foliage that are half-dissolved in abstract structures with meticulously detailed textures. Stark contrasts between the vibrant colors in the natural motifs portray a synthetic edge in his Metamorfose (2017) series. The artist fossilizes the ephemeral with the juxtaposition of rainbow gradients, pressed leaves, and stems. A similar dimension springs from the fossil-like materiality of Anderson Borba’s (Brazil, 1972) work. In Mata-Leão (Rear-Naked Choke) (2022), Borba sculpts wood and then burns, paints, presses, and manipulates materials such as paper and varnish into the composition.

Mauro Restiffe (Brazil, 1970) and Marina Rheingantz (Brazil, 1983) depict seascapes stripped of monumentality and imbued with atmospheric radiance. The analog grain in Restiffe’s 2020 (2020) situates an embracing couple in the foreground in a dreamlike, half-remembered scene. Likewise, the imagined landscape of Rhein-gantz’s Silver Lake (2023) creates a vaporous ambiance filled with thick layers of paint, whose forms may oscillate between rocks and smudged paint depending on the viewer’s perspective: a procedure translated into the rhythmic, curt marks of thread in her tapestry Balsa 1 (2017).

Vegetation becomes airborne in the artificial plants that emerge from the suspended straw pot of Haegue Yang’s (South Korea, 1971) The Intermediate - Antenna Basket on Rings (2017). The television antenna protruding amongst the plants presents a duality between the natural and the technological, the folk and the modern. Yet, the straw vase in the shape of elephant ears recalls the craftsmanship from the woven rattan Leonor Antunes (Portugal, 1972) encountered in Franca Helg’s family home in Galliate Lombardo, Varese, Italy, and then reimagined in the hanging Franca #2 (2018).

Antunes maps architectural details, while Wilfredo Prieto (Cuba, 1978) maps images and Abraham Cruzvillegas (Mexico City, 1968) maps psychogeographic landscapes. In Prieto’s Fake News series (2021) he interpreted the photographs from the national and international press through abstract applications of acrylic on canvas. In Otras rutas 13 (Other routes 13, 2023), Cruzvillegas engages his entire body as he uses a mop to paint lines that map pathways within a space we can only imagine. From the emptiness of the exposed canvases, the construction of space also forms in the work of the self- taught painter and writer Álvaro Lapa (Portugal, 1939–2006). The implication of space evokes a discarded note or a valley and the references to or inclusion of written words suggest ever-changing narrative paths.










Today's News

August 9, 2023

After a flood, saving Appalachia's history piece by piece

Galería Marlborough participates in the 1st contemporary art fair in the South of France

"Yayoi Kusama: You, Me and the Balloons" by Yayoi kicked off Factory Internationals summer programme

Public Art Fund opening 'Unruly Forms', eight new and recent paintings by Felipe Baeza

William Friedkin, director of 'French Connection' and 'Exorcist,' dies at 87

'Sail Power: Martyn Mackrill and Traditional Marines' now on view at David Messum Fine Art

Paramount agrees to sell Simon & Schuster to private equity firm KKR

Fine Arts Work Center names 20 writing and visual arts artists for 2023-24 fellowship

'Over Order: Padma Rajendran & Sarah Ingraham' now opening at Uprise Art

'Beyond Here: The Judy and Sidney Zuber Collection of Latin American Photography' at the Cantor Arts Center

Compton Verney announces new senior appointments

Rare "Painted Cross" is the oldest of 30 paintings to travel from Italy to Miami art exhibition

Jack Fischer Gallery opens a group show of work by 5 artists

Africatown International Design Ideas Competition has chosen its winners

Asian Art Museum welcomes Yoon-Jee Choi as Korean Art Curator

Fotohof opens an exhibition of works by Gerald Domenig and Andrea Witzmann

Onna House presents the group exhibition 'Supernatural Beauty'

Troubetzkoy, Guffogg, and Mid Mod furniture highlighted Moran's ReDesigned sale

Exhibition showcases diverse ways in which space can be depicted and explored

Artists Robin Rice, Shannon Greer and Charlotta Janssen featured in 'sitting...three approaches' at Hudson Milliner

Six new street art commissions will bring inspiration and colour to Thamesmead

Infamous Beauty exhibition by controversial American photographer Andres Serrano on view in Prague

Rhiannon Giddens is a songwriter, too

3 Key Benefits of Smart Garage Door Openers for Tech-Savvy Seattle Residents

Why Automated Gates Are a Game-Changer: A Guide for Dallas Residents

The Ultimate Guide to DARKCVV: Your Trusted Source for High Valid CVV

Choosing the Perfect Wall Art for Your Living Room

Elevate Your Interiors with Gold and Black Wall Decor from Luxury Wall Art

A Guide to Gothic Dresses: Navigating the Dark Waters of Formal Events

The Future of AI-Generated Art

Eracvv: Your Ultimate Destination for High-Validity CVVs and Secure Transactions

Choosing the Perfect Wall Art for Your Living Room

Elevate Your Interiors with Gold and Black Wall Decor from Luxury Wall Art




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit
Attorneys
Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful