Wednesday

Certain metal pieces have etched unyielding marks onto the stitched skin.

These resemble remnants of a bygone organism or serve as a document with purely visual information from an uncertain and silent past.

“Ejercicios de arqueología literaria” (Exercises in Literary Archaeology) declares the materiality of texts as a place where the evolution of human activity can be traced.

In “Gravitación”, Gastón Herrera uses text, already edited and published, both as a support and as texture, as the lettered background of a landscape.

Both from the content of the text and the title of the work, the concept of universal attraction is invoked, referring to the natural phenomenon by which objects and fields of matter, endowed with mass or energy, are drawn towards each other.

With that purpose, it objectifies a detail from an article about Gumier Maier, an emblematic figure in Argentine art from the 1990s.

  In this installation, Facundo Suasnábar ventures into science fiction, where the artifacts pulsate and create their own language.

The craftsman, like a Dr. Frankenstein, releases into the world a liquid, vulnerable, and mutant life.

Karin Idelson produces images using the camera obscura method, the optical instrument that made photography possible.

Like literature, which creates mental images in the reader, the artist inoculates us with fragments of a conversation of which only a few isolated and ghostly pieces remain.

Using only the formal relationship between each sign as syntax, the artist experiments a leak of language with an unintelligible poetry.