Elba Bairon makes corporeal a tradition developed fundamentally on the surface of a fabric in modelling ambiguous forms in paper pulp. It evokes sweets from the North which bear a materiality between the organic and the mineral.
Mildred Burton is exhibiting still lifes of delicate make with surrealist details. They belong to the “Frutos del pais” and ‘De los fusilamientos” series in which she alludes to the violence of the local political environment of the 1970s.
Juan José Cambre expresses the convention of the number through his series “Membrillos”, where he paints with a subtle treatment of colour a fruit which, because of its irregular form, does not leave a defined imprint in the subject’s memory.
Eduardo Costa is exhibiting fruits or vegetables applying layer upon layer of acrylic. In the opening performance, they also revealed its interior, also made of acrylic.
Nicola Costantino shows the industry of death which exists behind ingestion with the realism of a silicon tracing technique. His photograph “cadena de codornices” attempts to insert his peculiar aesthetic in a real meal.
Karina El Azem orders coloured beads in still lifes, thus satisfying a certain “sense of order” which is inherent to the human condition. She also gives continuity to the fundamental theme of her works over the last years, “the ornate”.
Adriana Fiterman paints “Banquete”, a figurative image of a served table resolved with solid abstract criteria and a counterpoint between internal and external forms.
Nicolás García Uriburu with his naturalism integrates a human aperture to the discipline of perception in response to contamination, as much of thoughts and feelings, as of water and air.
Marie Orensanz constructs an object in steel, adds the word “Indispensable” to the traditionally represented elements. It is a reference to the necessary in these elements, such as the necessity of thinking about or everyday life.
Rosalía Maguid replaces the syntax of foods on ancient china platters for that of words. The recipes preserve history and synthesise the particular taste of a culture transferred from generation to generation.
Matilde Marín presents “Recolección: Pan y Pescado”, photo-performances of a united atmosphere in brown tone. They make reference to the reversal of the situation of garbage recollection, in her hands bread and fish await, fresh and clean.
Carlos Masoch investigates local identity through the food habits of Argentineans. Three paintings in oil represent a normal local sequence: entrée, main and dessert, the menu of a social national collective.
Andrea Racciatti works with the oeuvre a recognised Spanish painter who is a father of this genre. She includes elements which once having disappeared in a first reading, later are useful for a reflection on man’s violence and the threat presented to the natural balance by uncontrolled fire and water.
Res rescues the concrete using photography, thinks temporally and simultaneously presents a before and an after. In this case, foods are installed according to the business logic of the supermarket.
Nora Aslan
Mildred Burton
Karina El Azem
Adriana Fiterman
Carlos Masoch
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