MECHANISMS, MATTER, AND MOURNING IN NAZARENO PEREYRA’S WORK
The Argentine artist presents Las máquinas no lloran (Machines Don’t Cry) at the Buenos Aires gallery, where he fuses diverse artistic techniques with automated mechanisms.
De Sousa Gallery hosts Las máquinas no lloran, an exhibition by Nazareno Arnaldo Pereyra (1986, Buenos Aires), where themes such as death, excess, intimacy, automatism, time, machinery, and passion intertwine. At times, the artist’s work does not seek to convey a specific message but simply manifests as a material record occupying space in his studio. Yet—as in his own writings—his practice is guided by an act of faith.
After working for ten years in a metal factory, Pereyra began collecting objects found in that environment—from industrial scraps to organic remnants—and from them he writes a poem each day, in an exercise of automatic writing. This process, which unites body, time, and repetition, has become a constant in his practice and also resonates in his visual production, where he combines various techniques with technologies and automated mechanisms.
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Vista de sala "Nazareno Arnaldo Pereyra: Las máquinas no lloran". Cortesía de Sousa Galería
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Nazareno Arnaldo Pereyra. Hay un plato que ya no existe, 2025. Tiza pastel, policromo, acuarela y tinta sobre papel maruflado sobre tela, 152 x 125cm. Cortesía de Sousa Galería
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Nazareno Arnaldo Pereyra. Hay un plato que ya no existe, 2025. Tiza pastel, policromo, acuarela y tinta sobre papel maruflado sobre tela, 152 x 125. Cortesía de Sousa Galería
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Nazareno Arnaldo Pereyra. Hay un plato que ya no existe, 2025. Tiza pastel, policromo, acuarela y tinta sobre papel maruflado sobre tela, 152 x 125 cm. Cortesía de Sousa Galería
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Nazareno Arnaldo Pereyra. Las máquinas no lloran, 2025. Máquina automatizada, 170 x 50 x 50 x cm.Cortesía de Sousa Galería
“The gesture of a machine that gathers and releases sediment—because it only knows how to do what Pereyra has taught it—makes us think of a mechanical destiny that is inseparable from our own. Perhaps it’s true that they don’t cry. Maybe they don’t want to. But they are mourning beside us,” wrote Alberto Passolini in the exhibition text.
Nazareno Pereyra studied in artist workshops with Luis Terán and Raúl Flores. Between 2020 and 2021, he participated in the Boca de Fuego program at MUNAR, and previously, from 2019 to 2020, he was a fellow of Yungas Buenos Aires, based at Diario La Prensa. His artistic training is complemented by studies in playwriting, screenwriting, poetry, theater direction, and clowning. He has held both solo and group exhibitions in Buenos Aires. He received the Acquisition Award from the Franklin Rawson Museum of Fine Arts for his work Automatismo de mi ego and the Acquisition Award from the Emilio Pettoruti Museum of Fine Arts for Último día para llorar (Last Day to Cry). In addition, his work Automatismo de mi crucifixión (Automatism of My Crucifixion) received an honorable mention at the 77th National Salon of Rosario.
Las máquinas no lloran (Machines Don’t Cry) will be on view through October 31 at De Sousa Gallery, Paraguay 675, Retiro, Buenos Aires (Argentina).
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