Liste 2016

Felipe Arturo’s practice takes elements from fields in the proximities of urbanism, architecture and art in relation to politics, history, geography and economy. His works and projects are mainly sculptures, installations and videos departing from concepts like structure, sequence and matter. The work of Arturo is deeply influenced by the vernacular architecture and construction techniques that reflect processes of assimilation and resistance to colonization processes.

The meticulous process of drawing in which Marlon de Azambuja submits the photographs taken by Bernd and Hilla Becher becomes a reconstruction of the industrial imagery so thoroughly documented in their numerous series about water towers, grain elevators or coal mines. It is this operation, Marlon de Azambuja turns each photograph into drawing, and each drawing in a commentary that marks the last stop in the narrative set up by the Bernd and Hilla Becher: the forms that they aimed to preserve through image, being erased through drawing.

Sebastián Fierro’s work investigates painting as a method to obtain knowledge. His early work mainly focuses on understanding landscape as a human construction over alien and distant phenomena. His most recent paintings are influenced by the contemporary understanding of space and time. Fierro believes that space/ time behaves equally in the universe as in painting, and therefore it is constantly eager to explore and understand our place in the universe.

Carlos Motta’s Land M(y)ne was shot in 2002 in La Isla del Fuego, south of Chile. The photographs present dead animal bodies and pieces of clothing abandoned in the land. In the years following the 1973 coup d’etat, large portions of these fields were mined, making them dangerous and uninhabitable. Though these photographs don’t specifically document the effect and aftermath of the mining, they attempt to metaphorically emphasize the need for a restitution of consciousness about the effects of political power-driven actions. Land M(y)ne, is a personal essay/reflection on the ongoing “ideology of terror” imposed on civilians by threats of violence, in Chile, and the rest of the world.

Ana Roldan draws on different cultures for her works, referring to cult and leadership related objects, to architecture and design, to folk art, art and the art scene itself. Many of her objects and sculptures evoke familiar items like chairs, vases or archaic weapons. They remind us of commonplace things or things from previous eras, usually without their function being actually revealed.