Dot Fiftyone Gallery is Proudly Presenting Two Simultaneous Exhibitions
“Bazaar,” new works by Miami’s resident artist Pancho Luna – First floor main gallery. “Painted Paintings” by Seville’s (Spain) artist Cristobal Quintero – Second floor project room.
Miami, FL, February 11, 2009 --(PR.com)-- Bazaar is the title of Pancho Luna’s forthcoming show at Dot Fiftyone Gallery. Part design, part sculpture, Luna’s installations work as ciphers, hybrids, transient/durable artifacts between Conceptual Art and Arte Povera. The carefully realized pieces exhibit a feel for intuition mixed with conceptual precision. They express tensions between the design message (consumption and all) and its aesthetic import: A difficult negotiation no doubt.
Luna’s pieces distill the weight of process. For instance, the series “Discusiones” (discussions) would have started as a collaged presentation of random letters but ended as a (controlled) syntactic disarray of materials, that is, the industrial detritus the letters embody. Luna piles up stuff, screwing syntax, adding foreign materials to content. The final product is glossy, sort of industrial, as if almost assimilated by the productive economic machinery. But wait, not necessarily.
Luna’s work of the early 2000’s showed an exploration of the condensation of meaning and language, which still shows up here, although in a less obvious manner. The work shifted a bit from semantic condensation to visual expansion. “Libros” (Books) are a series of rectangular pieces, sort of bookshelves, showing thin strips –as if book spines- in diverse colors and widths. Like in “Discusiones,” there is a play on order, sequence and materials. There are two parallel themes here: the form being almost complete, and the material revealing something missing or redundant. In other words, Luna disjoins aesthetic and the utilitarian vectors.
The “Galones de luz” (Gallons of Light) series are empty plastic jugs with light filaments inside. They look like DIY plastic lamps pointing to eco-friendly design. “Galones” function as a reverberating synecdoche: a gallon of what? (water, milk, artificially sweetened green tea?). It’s the chosen unit of mea$urement for petroleum: crude oil, global source of energy. Next, the plastic itself, a petroleum derivative and ubiquitous medium in Twentieth Century design (plastic injection techniques are central for many of the 1950’s-1970’s high end furniture pieces).
Luna uses plastic sheets is his “lamp mobiles”, an odd mix between Moore and Panton. The sheets of plastic diffuse, augment, divert, (hide?), light and thus possible readings of letters hardly visible from inside the lamp’s space. In this case Luna employs language as deferral: Meaning matters because it is avoided.
Expect Bazaar to be what it is: motley rhythm, a-formal, in-between, heterotypic, topstitch, open-ended and flexible. You may want to come again for more.
Alfredo Triff, Miami February 2009.
In addition to Bazaar opening, Dot Fiftyone will be unveiling the same Saturday February 14th, (at the gallery’s project room): “Painted Paintings” first exhibition in Miami from the Spanish, artist born in Seville, Cristobal Quintero.
Although nowadays it’s not an easy task to distinguish painting from drawing, and the most characteristic feature of each one is to minimize the medium on which it’s being executed, in Quintero’s case they are cleared differentiated. He usually uses drawing as a form of experimentation, covering multiple facets and with various techniques. He rarely uses it as the final work itself, more likely to experiment and make notes: sometimes to transmit an idea in an objective way, and others, taking advantage of the free association of ideas, the “automatic drawing”. Ideas and resources sprout from this seed, and he develops them, sometimes as far as reaching the canvas. Not as sketches, more like a field of suggestions. Most of the drawings get piled together unclassified, like a graphic “diary”.
With the drawings belonging to the series presented at “Painted Paintings”, he wanted to make that incoherent combination of elements with no narrative structure at a much larger scale, like zapping channels, or sort of. Mixing techniques and styles on the same medium. An “exquisite corpse”, those hobbies that the surrealist artists did amongst several of them, adding ideas and disparate styles to the work. Before postmodernism, this would have seemed schizophrenic, style was associated with the personality of each artist in which his brand, his strokes, his imprint, was deeply linked with his psychology and character. For some time now, “style” can be chosen, the artist becomes an “art director” for his own works of art, that can keep aside his natural character (stroke, color, composition…) He chooses registers, just like he can choose color.
Further information regarding the exhibition is available by calling (305) 573-9994 and online at dot@dotfiftyone.com; wwwdotfiftyone.com. Pancho Luna’s and Cristobal Quintero recent works images are available upon request.
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Luna’s pieces distill the weight of process. For instance, the series “Discusiones” (discussions) would have started as a collaged presentation of random letters but ended as a (controlled) syntactic disarray of materials, that is, the industrial detritus the letters embody. Luna piles up stuff, screwing syntax, adding foreign materials to content. The final product is glossy, sort of industrial, as if almost assimilated by the productive economic machinery. But wait, not necessarily.
Luna’s work of the early 2000’s showed an exploration of the condensation of meaning and language, which still shows up here, although in a less obvious manner. The work shifted a bit from semantic condensation to visual expansion. “Libros” (Books) are a series of rectangular pieces, sort of bookshelves, showing thin strips –as if book spines- in diverse colors and widths. Like in “Discusiones,” there is a play on order, sequence and materials. There are two parallel themes here: the form being almost complete, and the material revealing something missing or redundant. In other words, Luna disjoins aesthetic and the utilitarian vectors.
The “Galones de luz” (Gallons of Light) series are empty plastic jugs with light filaments inside. They look like DIY plastic lamps pointing to eco-friendly design. “Galones” function as a reverberating synecdoche: a gallon of what? (water, milk, artificially sweetened green tea?). It’s the chosen unit of mea$urement for petroleum: crude oil, global source of energy. Next, the plastic itself, a petroleum derivative and ubiquitous medium in Twentieth Century design (plastic injection techniques are central for many of the 1950’s-1970’s high end furniture pieces).
Luna uses plastic sheets is his “lamp mobiles”, an odd mix between Moore and Panton. The sheets of plastic diffuse, augment, divert, (hide?), light and thus possible readings of letters hardly visible from inside the lamp’s space. In this case Luna employs language as deferral: Meaning matters because it is avoided.
Expect Bazaar to be what it is: motley rhythm, a-formal, in-between, heterotypic, topstitch, open-ended and flexible. You may want to come again for more.
Alfredo Triff, Miami February 2009.
In addition to Bazaar opening, Dot Fiftyone will be unveiling the same Saturday February 14th, (at the gallery’s project room): “Painted Paintings” first exhibition in Miami from the Spanish, artist born in Seville, Cristobal Quintero.
Although nowadays it’s not an easy task to distinguish painting from drawing, and the most characteristic feature of each one is to minimize the medium on which it’s being executed, in Quintero’s case they are cleared differentiated. He usually uses drawing as a form of experimentation, covering multiple facets and with various techniques. He rarely uses it as the final work itself, more likely to experiment and make notes: sometimes to transmit an idea in an objective way, and others, taking advantage of the free association of ideas, the “automatic drawing”. Ideas and resources sprout from this seed, and he develops them, sometimes as far as reaching the canvas. Not as sketches, more like a field of suggestions. Most of the drawings get piled together unclassified, like a graphic “diary”.
With the drawings belonging to the series presented at “Painted Paintings”, he wanted to make that incoherent combination of elements with no narrative structure at a much larger scale, like zapping channels, or sort of. Mixing techniques and styles on the same medium. An “exquisite corpse”, those hobbies that the surrealist artists did amongst several of them, adding ideas and disparate styles to the work. Before postmodernism, this would have seemed schizophrenic, style was associated with the personality of each artist in which his brand, his strokes, his imprint, was deeply linked with his psychology and character. For some time now, “style” can be chosen, the artist becomes an “art director” for his own works of art, that can keep aside his natural character (stroke, color, composition…) He chooses registers, just like he can choose color.
Further information regarding the exhibition is available by calling (305) 573-9994 and online at dot@dotfiftyone.com; wwwdotfiftyone.com. Pancho Luna’s and Cristobal Quintero recent works images are available upon request.
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Contact
Dot Fiftyone Gallery
Isaac Perelman
305 5739994
www.dotfiftyone.com
Isaac Perelman
305 5739994
www.dotfiftyone.com
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