Like a Speak easily,reveal the secret,exhibition Everything is solid It opens its doors in a basement in Buenos Aires, almost hidden from the limelight, like an underworld that proposes, based on the works of five artists, a dialogue in a secret tone with what is happening outside, in the city.
Simply enter your newly opened one Congress space Pass through artists’ workshops Camila LaMarca and Gonzalo Picard Varelawhich has renovated the site where the Peru restaurant once operated, and the streetlight that colors the mystical cocoon atmosphere begins to fade directly into the bathroom waiting room, where you enter the basement through a rectangle on the floor.
There, the ethereal becomes rustic, raw, the temperature drops, and between those four walls, they are eaten away by moisture, revealing their structural fragility. Aurora Castillo, Emilia de las Carreras, Dennis Grossman, Carlos Gutierrez, Julia Padilla and Federico Roldan Vukunic They turn the exhibition into a disturbing experience, open to or stripped of the senses.
With care Carla Chasco, Pigeon peracuccia, Pilar Santos and Manuel McQuirian, Everything is solid He proposes a view of the contemporary city, based on an arrangement in which the microbiome is created, as if there were organisms abandoned by miserable devastation, mutations of life that no longer exists or is emerging.
It is interesting, in this sense, how space works with works, which if placed in a white cube would lose the energy they generate when working together.
On the other hand, the Chamber is located in the Buenos Aires area, which, given its proximity to Congress, often seems haunted and forgotten, constantly transformed by protests and marches, a kind of living trench, a scar on the map of the city that never closes.
In this context, the neighborhood mixes part of the old town, close to the modernist and European project that led to the development of Avenida de Mayo during the centenary, with later buildings, which reveal the advance of concrete, iron and glass, functional and economic over the beautiful.
Even before landing next to the bathroom hatch he worked Julia Padilla It represents the impulse towards the grotesque, by combining organic materials – such as hair – with hybrid assemblages into an object that convolutes around itself and appears to have been self-fed (or by someone else). Beneath the stairs, light radiates from Padilla’s oval, horned creature, like an insect waiting, at some point, to emerge from hiding.
Down the stairs, a box of Federico Roldan Vukonich Inviting you to enter your arm in some sort of Glory hole Infinite, because as one moves inward, there is an expectation of arriving somewhere, but since that never happens, the tension of that encounter disappears. In escalation.
On another wall, the artist repeats this action, but there the experience does not become incomplete, but becomes tangible, because in each of the five boxes different biological elements collide, turning the pieces into a metaphor for the outside, where the architecture of the buildings hides different types of life, often unpleasant and, in some cases, leading us to nothing.
For her part, Emilia de las Carreras He uses leftover materials to build formations that evoke human geology, transforming waste into cultural and emotional monuments that aspire to be read as a future past.
In one of his textiles, pull tabs, the small metal rings that open a drink can, form a chain mail where insects coexist as parasites, while in other textiles, they are organized by broken or bent car windows, which act as a canvas, where some insects are embedded.
In his work, Dennis Grossman He envisions the installations as living organisms, creating a symbiotic link between the work and the viewer. It is presented in the exhibition with two installations made of latex, together with the pieces that were part of them Dendrites, A large work entered like a spiral path was presented a few years ago at the Móvil Arte Contemporáneo, in Parque Patricios.
Aurora Castillo He creates environments of dialogue between paint, iron and latex, inspired by biological concepts to generate imaginative landscapes: a sculpture floats in the room on a puddle that seems to have been generated, as if by saliva or excrement, from the figure and, on one side, dialogues with a video installation made of footage from the deepest interior spaces of the river, which reflects powerful microscopic vibrations. The presence that is revealed beyond the visible.
Carlos GutierrezOn the other hand, two sculptures are presented that point to bones, to the spine of something, of someone, who remained there, waiting to come out, and that time, or some other work, ended with the consumption of the very essence.
He writes that the sample starts from the hypothesis Federico Felipe Perez In the room’s text, the city is a “dialogue of material forces,” where infrastructures, subjects, wastes, and sediments interact in a system of antagonistic tensions.
This perspective rejects the idea of an organic, integrated city, and instead invites us to consider its possibility Microtopias: Humble and experimental spaces that emerge in the cracks of urban decay.
In this sense, Everything is solid It is then presented as a collective spatial construction, in which works generate new vitality, where the organic coexists with dead matter, in reflection of the mutations of a city that no longer exists. Or rather about the city that appears.
*Everything is solid, in Espacio Un Congreso, Hipólito Yrigoyen 1386, Congreso. Thursday and Saturday the 29th from 6 to 9 pm. Until December 13th. Free admission