Guido Ignatti y Marina Alessio en la galería Nora Fisch
El viernes 2 de marzo la galería argentina Nora Fisch inaugura la doble exposición de Guido Ignatti, El orden de la pintura no altera las palabras y de Marina Alessio No le caigo bien a nadie pero eso es porque soy un espejo puesto en habitaciones donde la gente cree que está sola.
In room 1 of the gallery Guido Ignatti presents a new project where his interest in exploring painting converges with his inclination towards a conceptual and investigative approach. Applies, then, parameters of the art of systems to the creation of paintings, developing a method where the choices of colors and themes are predetermined by the names of the tonalities in the ALBA interior paintings primer. It creates phrases that play to be poetic, chaining the names of several tones, which become the title and the origin of each work, and respects the percentage to use of each color according to the number of characters its name occupies in the phrase. For example, the work Your perfect love is an ornament of yesterday will have 37.5% of the color "Perfect love", 19% of the color "Adorno", 12.5% of "Yesterday" and 31% of black which is the color assigned to the connecting words. Ignatti invited three other painters, Lorena Ventimiglia, Tiziana Pierri and Juan Giribaldi to participate in his exhibition applying this system, each from their own interpretations of how to use it.
In the mezzanine room Marina Alessio presents an installation of objects, collages and photographs that explores the ideas of the authentic / the simulated, the tension between Argentine and European culture, between urban and high culture. Heads that look like Roman sculptures are actually contemporary portraits of male Vogue models, vandalized with spray. A bouquet of flowers hangs from the center of the room, wilting during the show. A poem made with the words of others engraved on a mirror interferes with the encounter with the image itself. The frames refer to those of the classic Italian painting but they are clearly cheap imitations. Alessio rehearses the germ of a poetics of failure, which runs between melancholy and humor.