Cortesy of MCMC Gallery

On entering the gallery, one is greeted by an otherworldly scene: a moonlit sky punctuated by a flawless full moon hovering over star-speckled darkness. Within this nocturnal realm, hybrid creatures, animals, and characters embrace interspecies fantasy, a playful and poetic realm reminiscent of Lewis Carroll’s Wonderland. Sculptural labyrinths rise amid irregular geometries while vivid portraits of birds and elegant young women emerge alongside a stage curtain lifting mid‑scene on “Le Carnaval des animaux” and “The Child and the Enchantments”—Saint‑Saëns and Ravel’s score and libretto serving as literary and musical affinities.

Each artists’ contribution unfolds with a palpable sense of collaboration and celebration: Schussheim’s theatrical, cinematic touch, Giménez’s pop‑infused, algorithmic fantasia, and Stoppani’s sculptural languages coalesce in a landscape of imagination and creative freedom. What these three share is not simply accomplished careers or recognizable names, but a rooted commitment to following their own artistic desires and modes of seeing and making.

Despite their prominence, what truly impresses is their refusal to confine themselves. Across painting, sculpture, design, music, theatre, and more, they venture boldly into interdisciplinary forms, dissolving boundaries and inviting wonder. Their shared signature is curiosity: the indulgent joy of play, the risk‑taking of fantasy, the willingness to lose and find oneself within creative expression.

This exhibition offers more than fantasy imagery; it is an invitation to imagine anew. Through mirrors, labyrinths, suspended figures, and theatrical hints, “A través del espejo” beckons us toward a more imaginative society—one built on free‑thinking and creative invention. In showing these artists together for the first time, the gallery orchestrates a cumulative reflection that is far greater than the sum of its parts.

In closing, this show is not about nostalgia for history or biographies, but about the living, breathing force of creative conviction. In the luminous interstices between sculpture and narrative, sound and image, “A través del Espejo” reminds us that art’s most profound power lies not in past achievements, but in its capacity to inspire, renew, and liberate our collective imagination.

The totems found in her new creations are metamorphoses of states, projected on canvas. Composed of many combined symbols, they materialize in the form of compositions characterized by varied textures, planes and opacities, and are visual representations of one's own experiences.

The artist's current production reflects the state of her perception of the world and the way she conceives life and art today. According to Batkis, Cohen builds a body of work in which an infinite number of fascinating scenes and thoughts are superimposed, without an apparent logical structure, as happens when we meditate. Her works can be conceived as stories built from images and situations in a creative process of free association, as a contradictory way different elements that provoke estrangement.

In the exhibition, rocks with expressive textures take great prominence as a transcendent and spiritual revelation, mixing objects of vibrant colors on backgrounds of the Argentine landscape. Rocks had already been used by the artist in her first exhibition when she painted them as precious stones set in rings. Now, the rocks are textured in an expressive way, far from the precisionism of that time.

In this unmissable exhibition, Cohen discovers not only her craft to bring her visions to the plane but also abandons the flat backgrounds and the brilliance of pop to take a more metaphysical path, where the theme of the landscape appears so defined that it invites us to project ourselves in that calm. But some more surprises have to do with the room where sensuality sneaks in without concealment in a video installation, provoking the senses open to touch, lick, and point.

Before, the artist explored an image close to the camp, which maintained somewhat ridiculous associations, an exaltation of objects derived from consumption. On the other hand, in "Revelaciones" the curatorial proposal proposes the idea of a "metaphysical Pop", where things happen that we cannot see, only feel the energies.

"Revelaciones" is a pictorial proposal that is contemporary and original, mixing vibrant colorful objects on backgrounds of the Argentine landscape. MC Gallery once again creates a unique space for appreciation and dialogue about art and continues to build on its objective of giving visibility and new ways of approaching modern and contemporary artists from Latin America.

“The concept of the sublime in philosophical aesthetics and art history is mainly understood as the quality of greatness. Edmund Burke, an Irish-born philosopher, claimed that the sublime is the most powerful experience. He also argued that sublimity and beauty were mutually exclusive. Burke presented his theory that beautiful objects are small and delicate, while sublime ones are dark and terrifying. Fascinated by this concept, I have chosen a series of different-sized paintings which touch on themes of monumentality as an aura of greatness, and little beauties in our lives that are inseparable from their fragility. One of the sources of sublimity is infinity”, we learn from the artist.

Gregor Eldarb (b. 1971, Poland), grew up in Sweden, now living and working in Vienna. He studied painting and graphic arts at the Academy of Fine Arts in Vienna (1992 to 1997). Since 2005 has a regular participation in solo and group exhibitions in Austria and abroad.

The artistic activity includes screenings at film festivals including Maudit Film Festival, Los Angeles, USA, 2023; the 50th Festival du Nouveau Cinéma Montreal, Canada, 2021; Architecture Film Festival Brussels, Brussels, Belgium, 2021; IndieLisboa International Film Festival, Lisbon, Portugal, 2021; 60th Ann Arbor Film Festival, Michigan Theater, USA, 2021.

The artist owns various awards and fellowships et. al. a. WIELS Residency, Brussels; I.S.C.P, The International Studio & Curatorial Program New York.

In addition to his own publishing activities, he is also active in teaching, a. o. Guest Professor, University of Ostrava, Faculty of Art, Czech Republic, 2017/18; University Assistant, Drawing Studies, and the Academy of Fine Arts, Vienna, 2021/2022.