Collega

𝙩𝙚𝙨𝙩𝙞𝙣𝙜 𝙚𝙡𝙨𝙚𝙬𝙝𝙚𝙧𝙚𝙨 is open this Thursday 13-17. The exhibition includes a piece from 𝐉𝐮𝐚𝐧-𝐏𝐞𝐝𝐫𝐨 𝐅𝐚𝐛𝐫𝐚 𝐆𝐮𝐞𝐦𝐛𝐞𝐫𝐞𝐧𝐚's 𝘐𝘯𝘵𝘦𝘳𝘭𝘶𝘥𝘦𝘴 (2021) series, where he uses '7.62 NATO' (the standard cartridge among the countries from the military alliance) to shoot real ballistic soap blocks. The resulting bronze sculpture thus mirrors the actual cavity produced by a bullet when penetrating a body. 

casamario

The project is supported by The Danish Arts Foundation and William Demant Fonden.

Photo by Brian Kure

𝙩𝙚𝙨𝙩𝙞𝙣𝙜 𝙚𝙡𝙨𝙚𝙬𝙝𝙚𝙧𝙚𝙨 runs until April 17. The exhibition is loosely inspired by 𝘚𝘢𝘭𝘢 𝘥𝘦 𝘱𝘳𝘶𝘦𝘣𝘢𝘴 [Testing room], an experimental project carried by Proyecto CasaMario (Montevideo). Visual artist and arquitect 𝐏𝐚𝐨𝐥𝐚 𝐌𝐨𝐧𝐳𝐢𝐥𝐥𝐨 was one of the participants of 𝘚𝘢𝘭𝘢 𝘥𝘦 𝘱𝘳𝘶𝘦𝘣𝘢𝘴. Throughout her practice, she meticulously dissects the discourses and tools that describe and represent our surroundings. 𝐌𝐨𝐧𝐳𝐢𝐥𝐥𝐨 distorts foundational narratives of her native Uruguay, re-signifies maps, creates gaps in colonial engravings, challenges street nomenclatures… as if an alternative land beyond eurocentrism could steam from within those devices, once they have been sabotaged. For this occasion, the artist shows 𝘛𝘢𝘱𝘪𝘻, 𝘩𝘶𝘦𝘭𝘭𝘢𝘴 𝘦𝘯 𝘦𝘭 𝘵𝘦𝘳𝘳𝘪𝘵𝘰𝘳𝘪𝘰 𝘐𝘐 [Tapestry, territory traces II], from 2019. The work is part of a series where 𝐌𝐨𝐧𝐳𝐢𝐥𝐥𝐨 cuts and patches together maps from different Latin American cities. The resulting tapestry blends the urban planning inherited from the Spanish Empire with patterns inspired by textile traditions prior to the occupation of the continent. The traces alluded to in the work title are not remnants from the past but testaments of the anti-colonial imageries haunting this territory.

𝙩𝙚𝙨𝙩𝙞𝙣𝙜 𝙚𝙡𝙨𝙚𝙬𝙝𝙚𝙧𝙚𝙨 is curated by 𝐌𝐚𝐧𝐮𝐞𝐥 𝐆𝐚𝐥𝐥𝐚𝐫𝐝𝐨 (from 𝐏𝐫𝐨𝐲𝐞𝐜𝐭𝐨 𝐂𝐚𝐬𝐚𝐌𝐚𝐫𝐢𝐨, Uruguay) and 𝐉𝐚𝐫𝐢 𝐌𝐚𝐥𝐭𝐚 (𝐂𝐨𝐥𝐥𝐞𝐠𝐚). The exhibition is supported by The Danish Arts Foundation and William Demant Fonden.

𝐑𝐢𝐭𝐚 𝐅𝐢𝐬𝐜𝐡𝐞𝐫 was born in Young (Uruguay) in 1972. Between 2000 and 2012, she lived and worked in Paris and Berlin, and she is currently based in Montevideo.

For the past decades, Fischer has been exploring the limits of painting as a medium, often incorporating it into spatial works. Her practice tenses the distinction between figuration and abstraction: the artist produces colourful no-places that, while presenting recognisable elements (a tree branch, a shore), evoke a sense of disorientation. 𝙩𝙚𝙨𝙩𝙞𝙣𝙜 𝙚𝙡𝙨𝙚𝙬𝙝𝙚𝙧𝙚𝙨 re-enacts one of her 𝘕𝘰𝘷𝘶𝘴, an installation project that she started in 2017. In its first iteration, Fischer used the wall paint of an unrestored prison cell in Montevideo (from a building that currently hosts the EAC, a contemporary art centre). She then pinned the small fragments up forming what she calls 'maps/landscapes', in which time appears to have been suspended. The Novus presented at Collega has been taken from the walls of the old CasaMario house. Despite the concrete material origin of the composition, Fischer creates fragile archipielagos without any distinctive reference. Landscapes in decay or, perhaps, worlds in the making.

𝙩𝙚𝙨𝙩𝙞𝙣𝙜 𝙚𝙡𝙨𝙚𝙬𝙝𝙚𝙧𝙚𝙨 is curated by 𝐌𝐚𝐧𝐮𝐞𝐥 𝐆𝐚𝐥𝐥𝐚𝐫𝐝𝐨 (from 𝐏𝐫𝐨𝐲𝐞𝐜𝐭𝐨 𝐂𝐚𝐬𝐚𝐌𝐚𝐫𝐢𝐨, Uruguay) and 𝐉𝐚𝐫𝐢 𝐌𝐚𝐥𝐭𝐚 (𝐂𝐨𝐥𝐥𝐞𝐠𝐚). The project is supported by The Danish Arts Foundation and William Demant Fonden.

𝙩𝙚𝙨𝙩𝙞𝙣𝙜 𝙚𝙡𝙨𝙚𝙬𝙝𝙚𝙧𝙚𝙨