It is a selection of works in which letters cannot be distinguished, even less words, but where space, volume and projection propose a game of visual forms that encourage those who look at them to stop and be moved.
The exhibition that opens in August will continue until October in the Plaza de las Artes, second floor of the Borges Cultural Center (Viamonte 525), with free admission.
Ferrari’s legacy (1920-2013) makes up a wide repertoire of works that explore an array of materials and languages to examine irreverent ways of arming and disarming visual and discursive rhetorics of power, be it political, religious or media.
The artist is the author of the famous “Western and Christian Civilization” (1965) and the sculpture of “Christ crucified on the wings of an American fighter plane”as well as the series “We did not know” (1976), that set of clippings from journalistic notes that denounced the disappearance of people during the civic-military dictatorship in Argentina, a de facto regime in which his son Ariel was also disappeared and for which the artist had to go into exile in Brazil.
An engineer by profession, a self-taught sculptor, he garnered local and international recognition, which reached its peak in 2007, when he was chosen best artist at the Venice Art Biennale, where he was awarded the “Golden Lion”, the highest award of a of the most prestigious biennials in the world.
On several occasions, the artist denounced the Catholic Church’s discourse on hell, using household items, trinkets and devotional objects purchased in religious stores, exposing saints and religious figures to the torments of hell, such as a plaster saint inside a mixer or a Virgin covered with scorpions and plastic cockroaches, forming an ironic series on divine justice.
Source: Ambito
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