Henrique Faria Fine Art presents Folding: Line, Space and Body, a group exhibition featuring Latin American women artists who have dedicated their practices to the exploration of abstraction and geometry. Presenting works from the 1950s through the present day, this show not only aims to shed light on the lesserknown careers of some of these artists but to provide a common ground in which their different trajectories of creative investigation can be seen side by side. The diversity of mediums seen here reflects the innovations made to the already strong foundation of geometric abstraction in Latin America and has sustained the movement's momentum through this day.
As art historian and curator Aimé Iglesias Lukin describes in the exhibition text, the act of folding is what ultimately animates the two-dimensional, it is what creates a shape from a line and what brings a work of art into the field of the spectator....This sense of dynamism and of activation can be seen in the interplay of shapes that unfurl across the canvases of María Freire's Composición vertical (1950) and Judith Lauand's Concreto 178 (1960) and also experienced in the sculpture 27 Triangles by Marta Chilindrón through the manipulation and rearranging of hinged triangles that broaden and tighten according to the whims of the viewer. The spirit of cinetismo, or kinetic art, is present within these works, and through the interposition, friction and coordination of forms a transformative energy is created such that the works are seen anew with each glance.
The monochrome, a mainstay in avant-garde art for the past century, though stark and somewhat fixed compared to the more kinetic geometric works, is able to generate its own quiet power through the depth of color and the strength of the line. Anna Maria Maiolino's Light Image (1971) harnesses the simplicity of the white square by embossing the shape on blank paper while Negro, rojo y blanco (1996) by Regina Aprijaskis restricts these three colors to three rectangles across a large canvas and compels the eye to find equanimity in their unyielding intensity. Elizabeth Jobim's installation Wall (2015) is built up through the juxtaposition and interaction of color across the two-dimensional plane of the wall and of the varying volumes of the objects that comprise it, such as wood panels, stones and notebooks. The static, more monumental uses of color and form, seen here in the context of minimalism and its legacy, engage the spectator on a corporal level and, as Iglesias Lukin writes, "tense the possibilities of what [an artwork] can be, not a representation but an object, a body itself."
Artists Marta Minujín, Anna Bella Geiger and Yeni & Nan use the body as a means to enter the realm of geometry itself, creating a personal element to what is not usually experienced as emotive. By investigating examples of geometry that are encountered in everyday life, such as the monumental obelisk, the grid-like formation of a stairway or the lines of a tennis court, the perfection found in the lines and angles of these shapes comes face-toface with the slight irregularities and asymmetries of the human form. In this way, the strictly defined structure is softened, melded to reflect the contours of the interaction.
Through these works, the artists have not only left their marks on abstraction, but have created a visual bridge that connects past and present, geometry and the body, color and feeling.
Participating artists: Regina Aprijaskis, Emilia Azcárate, Valerie Brathwaite, Feliza Bursztyn, Marta Chilindrón, Diana de Solares, Mirtha Dermisache, Noemí Escandell, María Freire, Gego, Anna Bella Geiger, Mercedes Elena González, Ana Mercedes Hoyos, Elizabeth Jobim, Judith Lauand, Anna Maria Maiolino, Marta Minujín, Mercedes Pardo, Liliana Porter, Margot Römer, Lotty Rosenfeld, Ana Sacerdote, Fanny Sanín, Adriana Santiago, Mariela Scafati, Antonieta Sosa, Yeni & Nan.
Entrada actualizada el el 14 oct de 2015
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