Throughout the exhibition, black and white paper squares are scattered across the floors of all three galleries. Silent and monolithic, these self-contained rooms resonate with unspoken narrative power. Refitting the cases with mirrors and neon light, Navarro transforms these static objects into deep spaces that appear to reverberate in perpetuity. This new compositional innovation co-opts the materials and format of portable “road cases,” which are customarily used to transport and protect musical instruments. The inherent silence and stillness of the artworks creates an uncanny perception of audio and movement, probing the relationship between sight and sound.Ī final installation consists of four 6 x 6 foot structures that make up the Impenetrable Room (2016). Circular texts, written in light, repeat the words KICKBACKand KNOCKNOCKNOCK in a seemingly boundless loop. In the center of the adjacent room, two freestanding drums– each six-feet in diameter– incorporate neon, LED, mirrors, and electricity to produce Navarro’s iconic infinite vanishing points. This monumental work, titled TUNING, 2015, produces a visual representation of sound while simultaneously removing and negating the original function of the instruments ‘playing a song,’ in the absence of sound. Upon entering Mute Parade, the viewer is confronted by a towering pyramid of six drums with the words HIGH, TONE, TUNE, BASS, MUTE, and DEAF embedded in LED lights. KIRIN, Fidel Sclavo, Eduardo Stupía: The Lines of the Hand Īrtists: Carlos Arnaiz, Ernesto Deira, Sarah Grilo, KIRIN, Juan Lecuona, Lucía Mara, Georges Nöel, Kvĕta Pacovská, César Paternosto, Fidel Sclavo, Eduardo Stupía, Valeria Traversa, Jan Voss. We also pay attention to the effects of redrawing the financial or political map, with the repercussion it has on how one makes and proceeds in art. It speaks of areas that have succeeded in alternating centripetal or centrifugal forces, where art has relocated its meeting points and its observation points. It seeks to reflect on the successive reconfigurations of the art map in the last few decades, on the displacements and relocations of its primary centers, from Paris to New York, from Venice to São Paulo, from Basel to Miami. The exhibition Toda percepción es una interpretación: You are part of it is a retrospective look from the viewpoint of contemporary issues of art, culture, politics and economics. Toda percepción es una interpretación: YOU ARE PART OF IT Marcius Galan, Horacio Zabala: Toda percepción es una interpretación: YOU ARE PART OF IT Īrtists: Elena Asins (Spain), Kader Attia (France), Robert Barry (U.S), Pavel Büchler (U.K), Paulo Bruscky (Brazil), Waltercio Caldas (Brazil), Luis Camnitzer (Uruguay), Arturo Cuenca (Cuba), Sandu Darie Romania (Cuba), Antonio Dias (Brazil), Iran do Espírito Santo (Brazil), Juan Downey (Chile, U.S), Marcel Duchamp (France), Juan Francisco Elso (Cuba), Eugenio Espinoza (Venezuela), León Ferrari (Argentina), Marcius Galan (Brazil) , Flavio Garciandía (Cuba), José Antonio Hernández-Diez (Venezuela), Karlo Andrei Ibarra (Puerto Rico), Joseph Kosuth (U.S), Barbara Kruger (U.S), David Lamelas (Argentina), Judith Lauand (Brazil), Glenda León (Cuba), Carlos Leppe (Chile), Anna Maria Maiolino (Brazil), Antonio Manuel (Brazil), Carlos Martiel (Cuba), Cildo Meireles (Brazil), Marta Minujín (Argentina), Priscilla Monge (Costa Rica), Hélio Oiticica (Brazil) | Lygia Pape (Brazil), Michelangelo Pistoletto (Italy), Liliana Porter (Argentina), Carlos Rodríguez Cárdenas (Cuba), Lázaro Saavedra (Cuba), Mira Schendel (Brazil), Franz Erhard Walther (Germany), Horacio Zabala (Argentina) He juxtaposes modernist architecture with structures common in Latin America–favela shacks, adobe and vernacular buildings–and he incorporates aspects of the do-it- yourself economy to find practical solutions when resources are scarce Randall Weeks utilizes architecture as a metaphorical structure to address the impact of man on the landscape.
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