Damian Ortega

The exhibition proposes an atypical symbiosis, through artists of the same generation who were first recognized internationally before being recognized at home, who enter from different perspectives in the fragmentation; the sum of the parts that can compose an idea -nation, vocabulary, history, industry, etc- but that does not stop being an illusion and that has self-construction as its axis. Thus, in the different spaces you can visit the video installation of Julieta Aranda, the “constructed” works of Abraham Cruzvillegas, the multimedia art of Rafael Lozano-Hemmer, and the expanded art of Damián Ortega.

At the entrance is “Stealing one's corpse” (an alternative set of support points for an ascent to darkness), where Julieta Aranda (1975) proposes, through a video and installations, “a science fiction story that problematizes about freedom”, based on “traps for animals of different types and times”. According to the exhibition organizers, the artist “investigates the link between the prey and the predator, with the figure of the human being, from her point of view, crossed by this duality: he is both the hunter and the hunted. So, he argues, there is no way out, except madness”.

In the next room, Abraham Cruzvillegas (1968) presents a series of paintings on large canvases, drawings with familiarity to shodō, five canvases made for the exhibition and intervened being on the floor with a broom, a mural collage with papers that he has accumulated for 3 decades, which is the only one made in Mexico; and sculptures created for the show from leftovers of metallurgical plants and natural materials, such as earth. For the artist, all these works are considered self-portraits.

Next is “Matriz de voz”, a sound-visual piece by Rafael Lozano-Hemmer (1967), the first artist to represent Mexico at the Venice Biennale in 2007, who specializes in the production of platforms for public participation, in which through technology - robotic lights, digital sources, computerized surveillance, multimedia walls, and telematic networks - he manages, as in this case, to generate transhuman perspectives. The work is a luminous system deployed horizontally, which flickers from the reproduction of some 800 recorded voices that fuse. At one end, the visitor can press the intercom button on an electric buzzer system to enter a phrase into the choir, which begins to replicate and slowly disappears into the chorus.

Finally, on the second floor of the La Boca space, Damián Ortega (1967) presents “Cosmic Thing”, an expanded art piece that has traveled the world, in which he dissects a '98 Volkswagen Beetle to suspend its parts in space, creating a sort of frozen explosion that suggests both the deconstruction of the piece and the fragmentation of the ideas it represents. In addition, a video installation “Sobre Escarabajo” (On Beetle) is presented, in which a funerary burial of the Beetle he had inherited from his father is observed.

Location: PROA Foundation, Av. Don Pedro de Mendoza 1929, C1169 CABA, Buenos Aires (Argentina)

Opening Date: 16th March 2024 

End Date: 11th June 2024

Working hours: Wednesday-Sunday: 12pm to 19 pm

Official website: https://www.proa.org/esp/

Artists:

The curator's note:

"Through this exhibition, the artist approaches universal concepts such as love, divinity and ephemerality, in the form of a chain of symbols. The totems, geometric shapes rendered in white on distinct chromatic surfaces, are metamorphoses of states, projected on the canvas.

Teodora Pica temporarily distances herself from previous creations: on the one hand, she replaces black with white in rendering the subject, and on the other hand, she looks to the inner world for inspiration, in contrast to previous sources from the urban architectural environment.

Each work is an independent ecosystem, but the current curatorial project includes 6 micro-series of paintings, each representing a distinct way of perceiving feelings and experiences.

For Teodora Pica, the moment of creation has a beginning, but also an end defined by the moment of exposure. From that point, her abstract works acquire the freedom to be reincarnated and imbued with new meanings offered by the viewers. The beauty of these works also lies in their ability to transform with each encounter.

The source of these works is a state of well-being, a place of positive introspection and sincerity. She does not look for inspiration outside, but looks to the inner world of feelings" - points out Alexandra Ilnițchi-Ardelean.