Works by the artists Mónica Fierro, Pablo Lehmann and Jorge Sarsale coincide.
Daniel Fischer, curator of the current exhibition at ODA -Oficina de Arte- titled “Probable – Possible – Impossible – Necessary – Delimited Code” brings together three artists, Mónica Fierro, Pablo Lehmann and Jorge Sarsale, who do magic and miracles with paper and the canvas that Fischer qualifies as a bounded code and points out that “drilling, traversing, cutting, folding, creates a topographic texture of high visual density.”
Mónica Fierro (Córdoba, 1963) studied classical dance and plastic arts. From 1992 to 1999 she was in the Netherlands and attended Arts and Crafts workshops in England. Upon her return, he worked with Cristina Dartiguelongue, Tana Sachs, Osvaldo Decastelli and Marian Cvik. He has received various awards, among them, Honorable Mention MUMBAT (Tandil), Visual Arts National Textile Salon, 6th Areatec Biennial, Chaco, First Prize for the Sívori Museum Textile Biennial Acquisition and has exhibited abroad at the Jaggedart Gallery at the London Art Fair.
She is known for her work with old books, folding their sheets in an origami fashion, later these books become stage sets where the characters enter and exit as actors, to later move to the volume by rolling up pieces of the sheets, which can be considered as a sculptural work. The title of the show gives the opportunity for each artist to reflect on her work.
“It is Probable that my works are a reflection of my life / It is Possible that my works have the freedom that I feel when doing them / Sometimes I think that it is Impossible for people to understand how happy I am working on my work / It is Necessary that when leaving On stage, one is prepared to give the best and if it fails, there is always the need to get back up and continue dancing”. The work of Pablo Lehmann (Buenos Aires, 1974) is characterized by subtlety, the fragile framework of the material, obsessive manual labor. He can permeate all kinds of material, but in that permeation is the word, generally literary references to Sophocles, Marguerite Duras, Yasunami Kawabata, just to name a few. Word games in Spanish, expressions of our daily jargon, a sea of words, sometimes arranged alphabetically, in closed frames, almost impossible to read that forces us to get closer so as not to miss any.
“It is probable that my works are on the threshold between the legible and the visible/it is possible that my works are a sample of constitutive obsessions of my person/sometimes I think that clear communication is impossible, without conflicts, even though we inhabit language from nuestro nacimiento/es It is necessary that words be loved, cared for, and in the effects that we cause when choosing and interpreting them”. under the curatorship of Eduardo Stupía at the Recoleta Cultural Center when it ceased to be what it was to dedicate itself to rap, to the performances of the very young, to give visibility to groups that define themselves as stigmatized. His work seemed to have gone through a paper shredding machine, also with an obsessive folding that resulted in great density and thickness. The research, appropriation and development of the use of paper consolidated it as the fundamental material for his works and shredded paper applied on the plane it acquires its pictorial appearance.
What is currently seen in that sort of orographic landscape through the cutting, intertwining and pasting of paper, a ductile and lightweight element, also disposable, which gradually achieves a complex structuring of the plane. “It is Probable that my works are a possibility to think and think about myself individually and socially / It is Possible that I tend to discover different ways of doing things, to be able to define and name it / I think it is Necessary for each viewer to project their sensitivity”. An exhibition that reveals the high level of the exhibited works, the confirmation of the creativity of the artists summoned to demonstrate that they are against what Jean Baudrillard points out in “The conspiracy of art” when he refers critically to the duplicity of the contemporary art: vindicate nullity, insignificance, nonsense. Luckily these works leave traces. (Paraná 759 1st floor, Monday through Friday from 3 to 7 pm. Closing on April 20.)
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
