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The contingencies of Jorge Macchi

After giving us a bellyful of watercolors and various techniques of Jorge Macchi in the gallery Benzacar Ruth, all of them of great delicacy and even quite funny, descend to the basement to see the continuation of the sample. There we met with a light hanging from the ceiling to bare wire dazzles us until we can hardly open his eyes. As the dark, takes a while to get used to so much light, and once we do we spot a huge wooden structure at the corner of the room, behind a column, occupying the space from floor to ceiling. After seeing that one wonders if they are doing some remodeling in there or if indeed it is a work more exposure. Runway: a nomenclature on the wall announces the name of the piece. " Umbria."
When we started to piece things together, we realized then that sparse and coarse elements in their individuality, Macchi builds a subtle and magnetic work, giving of forcefulness and materiality of something that does not. The shadow behind the column and the bulb, borrows the physical body of the timber to become visible to our eyes, almost as if a magic act.

Without the character of work in progress tirnen's work discussed above, yet with a higher poetic level, we incorporeal elements are evident here, which although always with us, we are so everyday we just see them and realize their existence, apparently vacant.
any Chronicles is the title of a sample in which the time factor is considerable in the works that compose it. And what more possible than a shadow, so fragile that its existence is entirely dependent not only a source of light to produce, but also the smallest element that crosses his path to disintegrate.
Nothing remains here of the famous sense of the shade as stalking, threat startles us on a dark night, this does not generate fear but pure poetry. Ruth


Florida Benzacar
1000
Until May 14, 2010

Smithfields Bbq Calories

Self heavier World

Of the sample "Paraconstrucción "exhibited at the brand new Itaú Cultural Area, the work of one of the artists struck me particularly. This is Jorge tirnen, who presented, as all the rest, a work created for the exhibition space, ie a specific site, which is a model Fiat Auto Europe, which once moved the exhibition space were you gallons spilled cement on the inside to fill it.

The procedure is not new. Rachel Whiteread, a British artist, filled with plaster, resin and other materials no less than houses, those of the Victorian style so recognizable real size, making them completely unusable but it can draw inside an unprecedented way: as a giant mold which is no longer any place for any visitor but which were registered to their innermost recesses and marks left by those who once lived there. Defunctionalization
This is also present in the work of tirnen as was the friendly away to its former destination Fitito as a means of motorized transport.
Interestingly, though not flawless look for their external condition, it was out of use since before becoming part of the sample, and left by the wayside as did was put in a position patiently by the artist and painted a fiery red.
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meeting certain seduction in the works to be transformed over time, and whose outcome we can predict but not entirely predict. An aura of mystery around it is for us, spectators, and for the creator who gave life to the creature, as with "Life, death and resurrection " those shapes lead Victor Grippo, filled germinating bean that sooner or later would explode.
hardly the car explode as it did with these figures, but who knows? Perhaps someone has ever experienced? As soon as we can see in the car are the tires buckling under the weight of cement, stroking the limit of their endurance.
a material generally used to define contours, is here filling the empty space that usually go around in the buildings of which it forms part. Beyond its constructive sense, we can not forget the sad and chilling connotation that keeps this material with our recent history.
I wonder if at some point be in the artist's intention to remove the "shell" representing the car's body, and to let us glimpse the negative of it from a completely new perspective, revealing that place between seats and flyers reserved in most cases, our human anatomy.

giving something invisible physical entity is also the sign of Jorge Macchi in Ruth Benzacar of which we'll talk soon.


Itaú Cultural Space and Viamonte
Cerrito
Until May 14, 2010