On the other hand, a huge scale model of a pink skyscraper dominates the space of a small room painted in a more intense shade of pink. Giménez is the curator of the exhibition and the author of this monochromatic display destined to demonstrate without hesitation the virtuosity of a genuine connoisseur. In this way, the exhibition works as a stimulus whose value consists in involving the spectator and inserting him in the midst of the beauty and poetry of an enveloping artistic configuration.
The history of art is not foreign. There is a magic comparable to that of Monet, the optical sensations that light and color provoke in the mind are perceived. And the memory is inevitable. Just a year ago, unstoppable photographs of the wonderful Casa Neptuna that Giménez built on the Uruguayan beaches of José Ignacio for the Ama Amoedo Foundation dedicated to Latin American art circulated through the networks. A decidedly Pop symphony, with a predominance of green on a radiant yellow floor with two candies on the ceiling, one pink and the other light blue. The architecture recalls the blue house that the artist built in the 1970s for Jorge Romero Brest and his own paradise of Greco-Roman inspiration.
Building
Of course, the paintings in the exhibition show Giménez’s special talent, especially in “Construction on White” from 1994, where the lightness of the lines of a labyrinth exalts the use of minimal resources and colors so soft that they tend to blend in with the white walls. In open contrast, the “Venusian Symphony”, a diptych from 1993, stands out for the strength of the color, the shape and even the volumes applied to the surface of the painting.
For its part, the furniture makes it possible to evoke the designs that his fellow artists admired so much, such as Federico Klemm, among others. The great “Furniture of chucks and clouds” dates back to 1964, measures almost two and a half meters high by 1.10 meters wide and has a rainbow on top. Animals are a recurring theme and there, in the gallery, they exhibit cats and monkeys and a poodle dog. With a notable change in the palette of light tones, grays and black appear, they bring back some furniture and the striking series of “Cats Secretaire”. Animals embody a range of interpretations, fantasies, ideas, impulses, and intuitions. Giménez, always glamorous, provides proof in this exhibition of an unconditional dedication to beauty, but above all, that his art does not age. Although with the same unprejudiced air as always he brings phrases and quotes loaded with humor, the truth is that his art has become more eloquent, his power does not need words. The works highlight the artist’s desire to aestheticize life. That is, the desire to turn ordinary everyday things into pleasant and extraordinary things. The Pop movement began to close the abyss that once opened between life and art. By breaking with exclusivism and “humanizing” its message, it arouses growing interest in broad sectors of the population. Today, for pleasure or curiosity, the public flocks to art exhibitions.
Romero Brest agreed with Arnold Hauser, who said that “works of art are a provocation”, and Giménez humorously clarifies that concept, when he adds: “Something has to happen with art. If everything remains as before, if nothing happens, it is that it is useless”. The artist invited Cynthia Cohen to share the exhibition as a special guest. Cohen, a well-known reference to Pop, painted a tribute work, an albino monkey wrapped in fabulous pearls. Meanwhile, theorist Laura Batkis presents an interview that brings Edgardo Giménez closer to the public.
Source: Ambito
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