GUSTAVO PÉREZ AND LIN CALLE CONNECT IN THE ARBOREAL, IN MEMORIAM
The two venues of MEMORIA gallery enter into a necessary dialogue by hosting the individual but connected exhibitions of Gustavo Pérez (Mexico City, Mexico, 1950) and Lin Calle (Hubei, China, 1994), who put on the table, from their techniques and perspectives, a debate of thought on the impoverishment and extinction of contemporary imaginaries.
The growing number of trends and ease of consolidating images produced in and from the masses has enthroned immediacy and quantity to the detriment of enjoyment and the creation of quality content that can be incorporated into that set of symbols that constituted a collective reality that, as such, has ceased to grow.
The confrontation with that reality and the drawing of lines of argument for the analysis of why it happens is the driving force of Lo Arbóreo, where both artists explore the boundaries of the material and the visible with their opposites and invite us to recover that contemplation that seems to have fallen into disgrace. The ceramic works by Pérez and the pictorial ones by Calle seem to be drawn from the rebelliousness of the limit where strange positions reside and where everything that does not fall into the hands of urgency, haste and lightness ends up residing.
In a clear commitment to the senses and their role, condemned today to atrophy, both artists raise their proposals in a joint effort, although with individual personality, with which to build that necessary space of analysis, calm and contemplation that allows access to the perception and, why not, enjoyment of their instrumental work.
-
Gustavo Pérez, Untitled, different years. High temperature glazed ceramics. Variable measures
-
Gustavo Pérez, Untitled, different years. High temperature glazed ceramics. Variable measures
-
Gustavo Pérez, Untitled, different years. High temperature glazed ceramics. Variable measures
-
Lin Calle, Untitled, 2024. 200x162 Acrylic and ink on canvas
-
Lin Calle, Untitled, 2024. 200x162 Acrylic and ink on canvas
-
Lin Calle, Untitled, 2024. 200x162 Acrylic and ink on canvas
Lo Arbóreo: Gustavo Pérez and Lo Arbóreo: Lin Calle can be seen until November 9 at the venues of MEMORIA Gallery, calle Piamonte, 19 and calle Morenés Arteaga, 18, respectively, Madrid (Spain).
May interest you
OPAVIVARÁ! INSTALLS ITS “SOCIAL NETWORK” IN THE CAAC
The artistic collective from Rio de Janeiro OPAVIVARÁ! intervenes in the space of the Capilla de Afuera of the Centro Andaluz de Arte Contemporáneo in Seville with its Rede social, a sensorial and materialized symbology with which the Brazilians invite the spectator to place himself in a position to negotiate and cooperate with his fellow men and women. The intervention, consisting of the unfolding of fabric hammocks that acquire the rhythm and cadence that the visitor imprints with his movement and presence and that adds sounds of snoring, follows the group's premise of building spaces and devices that offer a collaborative experience.
ALLEGRA PACHECO AND THE IMPACT OF THE LABOR ISSUE
There seems to be, and increasingly so, a constant and growing debate in the social sphere about labor relations and the impact of work on people. Almost absolute concepts in current narratives such as work-life balance or resilience lack the necessary background to create that conversation. However, in order to build precisely on them, the research being done on the impact and culture of work in this new revision that Postmodernity leads to value proposals such as the one Allegra Pacheco (San Jose, Costa Rica, 1986) lands in her conceptual Dear Salaryman, which in its latest evolution is exhibited at the Museo La Neomudéjar in Madrid.
GERMÁN TAGLE'S REDEFINITION OF LANDSCAPE
Germán Tagle (Santiago, Chile, 1976) returns to Madrid's Daniel Cuevas, where he held his first exhibition two years ago, with El territorio portátil, a show in which the Chilean artist returns to the axes of landscape, painting and culture that have been the backbone of his latest productions.
THE NARCO-HYPOPOTAMUSES’ TALE, BY CAMILO RESTREPO
The double problem that arose from the acquisition in the 1980s of several hippopotamuses in one of the many eccentricities of the trafficker Pablo Escóbar is the starting point of a fable that, between the tragic and the comic, Camilo Restrepo (Medellín, Colombia, 1975) has managed to weave with a very successful graphic and conceptual narrative. With Cocaine Hippos Sweat Blood, the spectator faces this surrealistic story from its beginnings to the present by the hand of a figurativism that sets aside the academic and the technical for the sake of a greater aesthetic and relational concordance with that of the madness transmitted by the story itself.
THE UNFINISHED STORIES OF LILIANA PORTER
Liliana Porter (Buenos Aires, Argentina, 1941) has a long history shared with Espacio Minimo. The Madrid gallery pampers every move and celebrates the extensive relationship with the Argentinean artist, always offering her the possibility of receiving her work and witnessing its evolution. For the opening of the space's season, the landing is called Otros cuentos inconclusos, a new proposal that deals with representation and two dimensional axes —space and time— that bear witness to many of the questions raised about human relations.
THE WANDERING STORIES OF CECILIA PAREDES, IN BLANCA BERLIN
From her different interdisciplinary perspectives, Cecilia Paredes (Lima, Peru, 1950) lands in Blanca Berlin with a collection of images that deal with imaginary cartographies, displacements and human relations in their conceptual part, materialized, above all, on canvas as the main exhibition material. In Historias errantes (Wandering Stories), the Peruvian artist bets on recovering graphic materials anchored in antiquity, such as astrological charts, engravings of discoveries and maps, which become, after the manipulation of the parts, absolute compositions of impossible -but also aesthetic- iconography.
STEFAN BRÜGGEMANN'S LINES OF FAITH, AT CASA DE MEXICO
Stefan Brüggemann (Mexico City, Mexico, 1975) disembarks at Casa de México with Dos líneas (fe), a series that is understood as an installation and that starts from the impact and the apparent simplicity exposed to develop the concept of inheritance and its satellites. The Mexican conceptual artist uses the power reflected by symbols, religion and history, an element that he deploys, sometimes explicitly, in his large-format works.
THE PRE-COLUMBIAN ROOTS IN THE CONTEMPORARY, AT CASA DE AMERICA
Casa de América is hosting three interconnected exhibitions in Madrid until November 30 that investigate and show the influence of the arts and the roots of pre-Columbian cultures in contemporary art and architecture.
PAMEN PEREIRA: SPACE, ORDER AND ELEMENTS, AT ARTIZAR
Pamen Pereira (Ferrol, Spain, 1963) unfolds her project Don't give up at Artizar gallery in Tenerife, a show made up of fourteen pieces that make up a total, but that must be seen from the prism of combination and language. However, the artist advocates for observing what is hidden behind the relationship of her works, the selection and the dialogue that the tour offers us.
MERCEDES AZPILICUETA AND HER “DANCING TABLES” IN C3A
Mercedes Azpilicueta (La Plata, Argentina, 1981) lands with her dancing tables at the Centro de Creación Contemporánea de Andalucía (C3A) in an exhibition curated by Verónica Rossi and Jimena Blázquez. A visual and performance artist based in Amsterdam, her artistic practice proposes in her multi-layered works a meeting place between the past and the present through her protagonists and their expressions, some physical -but not corporeal-, such as voices; others, material, such as forms and texts; and others of a more intangible nature such as memory and remembrance.
