PIAV 2019-2020. Materials, Procedures, and Simulations

Eugenia Mendoza simulates, very skillfully and showing a great technique, flexible pipes and their junction piece with wicker.

The artwork fixes the attention in those installations involved in our daily dynamics that remain ignored while they don’t require technical support, and here they gain a double intensity of oddness due to their monumental dimension –a natural procedure in art tradition– and the materials that compose it, which are closer to the handcrafts universe.

These displacements of meaning imbricate with their presentation, in which they seem to emerge from the wall and sink into the floor, composing a connection through which some unheard fluid might flow.

Representing fragments and materials involved in the creative processes of other artists –identified by the inclusion of their names in each painting–, Valeria López appropriates those elements.

Thus she reveals an instant of the elaboration process of an artwork, unveiling in its residues the backstage of a shared trade that uses a realistic language that attempts to give an image to these remainders

that stand as palpable vestiges of appropriations and influences that inspire her own compositions.

In the case of RICAS, the spectacularity of their presentations and the emphasis on the materials –taken from the most common consumption industry– aim to surprise.

They build objects and installations in which they evidence the possibilities of simulation in grandiloquent and artificial tones. Thus they adhere to a neo-baroque aesthetic in which a vast theatricality unsettles and seduces with its vast polysemy.

Such is the case of Plisado negro, made with polyethylene from garbage bags transfigured into a luxurious and sinister ornament.

With her group of paintings Sin título, Julieta Barderi reveals once more the love of artists for experimentation with the technique and the unexpected possibilities that its inadequacy may present

as it stimulates the look to surprise with a reaction that provokes a new texture or another result from manipulating materials and instruments, but always with the intention to communicate and express oneself, represent and self-represent.

In a different pursuit, Santiago Paredes uses in Atelier computer images to print fabrics, a velvety plush in this case.

The transfer from digital introduces a haptic dimension, bumpy and warm, in this combination of textile and painting. An elliptic procedure to delve into the atelier work of hypothetic artists.

In the series to which Celebrando la confusion belongs, this is taken to its maximum plainness. Disregarding the documentation of the referent, he lets the light exist in dazzling shapes and colors that may compare to abstract paintings, although here they emerge from the dialogue between shades and shining, from the work of chromatic levels and exposure times.

With a traditional technique, María Maggiori explores in Sucederás, lo sé the typologies of the line, its modulations, directions, its concentration in weaves, accumulations and graphic versatility.

With these resources, she finds the way to express through drawing the dynamism, fluence and vertigo of the shapes that seem to come to life.

In AIC0008 Sin título, Marcolina Dipierro combines two materials that imply opposite textures and consistencies: the rigidness of steel and the malleability of rubber, with which she gets a lineal, fluid and versatile form, due to its possible transformations.

Thus she reviews with contemporary eyes the formal pursuits and the sense with which modern constructivism stirred art and design up.

In an adjacent line, María Eugenia Bracony explores in Umbrales amarillos the possible conformations of weaves that join modular pieces.

The artist engages in a formal exercise that presents like a barrier, some sort of fence that shows the strength of a limit in its configuration, yet at the same time looks fragile in its irregularities and cracked textures obtained from the ceramic treatment.

Marino Balbuena rehearses an alternative way of abstract art in Fachada.

Based on a work of schematization of facades in Buenos Aires photographed by himself, he translates to textile shapes and colors that compose a jumbled geometry, keeping the sensation of baroque artifice that he found in those fronts.