Tuesday, 21 June 2011
REVOLVER GALLERY PERU DOES COOL EXHIBITION IN MEXICO CITY
Blocked gallery doors and windows by Giancarlo Scaglia
photo by Andres Marroquin and blocked window by Giancarlo Scaglia
photographs of cemeteries by Andres Marroquin
Jose Carlos Martinat: glass sculpture made with grafittied windows from a soon to be demolished building
photocollages of rocks by Elena Damiani
Philippe Gruenberg: camera obscura photograph of the park outside the gallery
drawing by Matias Duville
light installation by Miguel Andrade
video of Lima fog, made of one shot a day during a year by Gilda Mantilla and Raimond Chaves
Renzo Gianella from Revolver, legend Beatriz Lopez with Lola and Giancarlo Scaglia from Revolver
the building in Circuito Interior and Leibinitz in Mexico City, from where Jose Carlos Martinat took the grafittied windows, it used to be one of my favourite 'anonymous' modern buildings, soon to be demolished or transformed...
removing the windows from the building...
Revolver Galeria from Peru at Arroniz Gallery, Mexico City
Plaza Rio de Janeiro No. 53 Colonia Roma
from June 21 to August 19, 2011
with works by Miguel Andrade Valdez, Elena Damiani, Matias Duville, Philippe Gruenberg, Andrés Marroquin Winkelmann, José Carlos Martinat, Gilda Mantilla, Giancarlo Scaglia y José Vera Matos.
'Difraccion' presents the work of 9 artists that are working on the perceptual experience from the possibilities offered by light. Physical diffraction is a phenomenon of light waves based on the bending and spreading of these when they encounter a limitation or pass through a slot. In this case it refers to the light waves that pass through different gaps and into the gallery. The exhibition brings together a variety of artists, techniques, resources and materials within the same subject, where the object complements the work that appeals to different connotations, generating a speech. Indeed, the art show is an act of self-consciousness and a break with a previous art production. Most of all the emergence of a new sensitivity to the present. The intervention leads to a specific experience in the viewer, without a precise objective to understand this representation of light from the elements that when are placed in the gallery have the possibility to reconfigure the vision of who enters into the exhibition space.