Pinta 2011:

This trend marks both the section curated by the Italian critic, Jacopo Crivelli Visconti, with invited galleries that presented Faivovich & Goldberg and Patrick Larrambebere (Argentina), Iván Candeo and Claudio Perna (Venezuela), Eder Santos, Fernanda Gomes and Lygia Pape (Brazil ), Jonathan Hernández (México) and Rómulo Aguerre (Uruguay), as galleries that choose projects with a curatorial vision.

Espacio Mínimo brought together works by artists of different generations and countries, such as Liliana Porter, Felipe Cortés and Gamaliel Rodríguez, whose works stands particularly in the boundary between representation and reality, and in the parallel tension between art and power. Arteputy focused half of its space to new explorations by Cecilia Paredes, a fusion of the ornamental and expressive: her abstract installations attributing emotional states such as melancholy to natural objects. Nohra Haime Gallery exhibited pieces from different periods by Antonio Seguí: his appropriations of classic Renaissance, such as his iconography of the little man wearing the old-fashioned hat, walking into a teeming metropolis where everything is chaos and isolation.

The inquiries of the artists exhibited by Crivelli range, from the minimalist to the trip as strategy and a conceptual methodology, that include the performances documentation. Hence, the blank space where the Brazilian Gomes (Galeria Graça Brandão), melts prosaic materials like adhesive tape, with here powerful minimal gestures abstract work, and fades the line between wall and table, integrating the surrounding space geometry that interrogates the sight’s border. Also, the travel documentation and interventions in public spaces that reflect how Venezuelan artist Claudio Perna (Henrique Faria Fine Art) mapped and challenges the artistic and political hegemony of his time. The square reticule, walked from the city to the desert, and cut into rectangles of coloured fabric used as paint floating on the naked male body and immersed in natural areas, polluted with matter of life and their disorder, the pristine geometry kinetic.

At both ends of the projects cured by Crivelli, there are installations from Brazilian Eder Santos (Celma Albuquerque gallery) and Venezuelan Iván Candeo (The Office) that share the media reference and the transfer of representation formats from the information technology or mass communication into the fields of art. Nevertheless, their exploration areas are of opposite sign. Santos uses many screens to reproduce the image of dogs locked in a box with a glass wall, as the very same screens. His interest is not to observe their behaviour, but the reduction of all reality to a game image enclosed in a box, which also refers to the "white cube" which is observed by the viewer. Candeo takes the old format of the "prompter"-which is used to read texts during TV transmission, to reproduce fragments of public leaders’ speeches, addressing the masses. In writing backwards, ironically represent the perversion of history, as an inverted echo of political statements. It also uses television screens reproducing the media paraphernalia that surrounds political figures, in contrast to the monotony of the expressions. The play recreates how, regardless of the speech the power is homogeneous: it reproduces itself and empties all the words of real meaning, or transform them in a fiction that does not matter to decipher.

The blurring of the boundaries between the real and false, from the representation, that reveals its own artifice, or the relationship between media, art performance, history and fiction, is clear in the project, through works of Mexican Jonathan Hernández (Nara Roesler); his historical speculations that use and subvert the printed media information. On the other hand, there are Faivovich & Goldberg (Cosmocosa), and their project, developed from the narratives unravelled by the discovery of a meteorite in Argentina and its graphic traces. Also present in the way in which Gamaliel Rodriguez reproduce the aesthetics of nineteenth-century blue pen recorder to represent documented royal houses connected with drug trafficking or weapons of mass destruction. Felipe Cortés uses the methodology of a private detective to follow the tracks of forgers by several countries, using identikit sketches and other media as graphic enlargements with stamp ink. These are just examples on how Pinta 2011, also covers those appropriations that the contemporary art gets from documentary, creating other visions.