Board games include Xul Solar’s “I-Ching”, Diego Bianchi’s “Imperialismo minimalismo”, three boards by Nora Iniesta, one with the saints by León Ferrari and “In cold blood”, Horacio Zabala’s chess . Meanwhile, the conceptual slopes do not elude the game. Marta Minujín participates with her “Rayuelarte”; Nicolás Guagnini worked for the “Homo Ludens” exhibition based on the proposals of Argentine concrete art from the 1940s. His billiard table appropriates the design of a picture with a cut-out frame and the color of a painting by Raúl Lozza. The word landscape usually refers to the image of a romantic painting or those that came after it, although, in this case, “Pandemic!”, by Manuel Aja Espil, shows the horror that advances through the world.
Among the constructions are the tubes by Valeria Calvo and the “Ghost Train” by Oligatega Numeric (Mateo Amaral, Maximiliano Bellmann, Alfio Demestre and Mariano Giraud) and, “Platz”, the see-saw by Jorge Macchi.
Liliana Porter’s video, “Solo de tambor”, plays with the humor and grace of the characters; like the white monkey by Edgardo Giménez and “Teddy Bear”, the well-dressed little bear by Dalila Puzzovio. But, above all, Cordovan humor reigns in a small-format version of the sculpture that Antonio Seguí designed for his hometown. The “Urban Man” quickly conquered the population of Córdoba, with his acceleration and the tie in the wind, with his bold shapes and vibrant colors, he disturbed the provincial calm. “When they announced that they were going to install the sculpture, we expected a character with the attitude of a hero, a bronze like the ones from before,” says an admirer of the artist. In another room and with the same grace, small sculptures of a boxer, Superman and a tribute to the World Cup players, modeled by Tucuman Sandro Pereira in plasticine, are exhibited. And one of them, his own self-portrait, is made of sponge. Elsa Soibelman painted the “First Governing Board of 1810” in the 1960s, emulating with frank irony the pose of the Argentine team. Boxing is the subject addressed by Pablo Suárez and Marcos López. The acrobatics figure with the beautiful neon athlete of Hernán Marina.
The exhibition includes significant pieces of art from the 90s, such as the imposing four-story “Cake”, supported by stuffed pink and light blue puppies, made by Cristina Schiavi. Along these same lines are the merry-go-round horse covered in sweets by Amalia Amoedo, the colored beaded dolls by Román Vitali, the ball with human fur and anus by Nicola Costantino, Benito Laren’s “Homage to Ariadna” and the little lamb in formalin by Alejandra Tavolini, an irony about the highly valued work of the British Damien Hirst.
Without aesthetic prejudices, Rodrigo Alonso selected works with revealing expressiveness. Added to the artists mentioned are María Luisa Bemberg, Matilde Marín, Liliana Maresca, Sebastián Gordín, Lolo y Lauti, Fabiana Barreda, Diana Aisenberg, Ernesto Arellano, the Doma Group (Orilo Blandini and Julián Manzelli), Miguel Harte, Irina Kirchuk, Alejandra Seeber, Pablo Siquier, Guillermo Conte, Manuel Espinosa, Rosana Fuertes, Margarita Paksa and many more.
Source From: Ambito
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