GALERÍA | AGUSTINA FERREYRA
FOR IMMEDIATE RELEASE
(Between the lines)
August 9th – September 6th , 2014
Saturday, August 9th from 6 – 9 pm Gallery Hours: Wed-Sat 12-6 pm or by appointment.
Galería Agustina Ferreyra is pleased to announce Entre Líneas (Between The Lines) with works by Gabriele Beveridge, Adriana Lara, Adriana Minoliti, Beatriz Santiago Muñoz and Amanda Valdez. The exhibition aims to question the existence and implications of a gender aesthetic, from a selection of works that comment on the symbolic value of images, the social and historic load attributed to the idea of women,and the notion of what is generally understood as feminine.
The work of Gabriele Beveridge (Hong Kong, 1985) is composed of a series of found objects and images that blend into sophisticated assemblages thatcomment on different notions about gender, identity and beauty.
In Untitled, 2014, we see a face whose eyes have been removed. The sterility of the image, echoed in the monotone of the sun faded photo, makes the subject lifeless almost like a statue. It has been stripped of all its humanness and all it is left with is just the rigidity of signifiers and expected judgements induced in the spectator by the correlation of certain things we can perceive – a protruding bone,a certain skin tone, a type of hair, pouting full lips, etc. The objects included in the piece, hang from a peg board as a comment on the things we do to our bodies in order to decorate them and make them more becoming, and also speak about the relation between beauty and the material.
Departing from the idea that interior design and decor have been historically linked to women, while geometry and architecture are generally associated with men, Queer Deco, 2011-2012 by Adriana Minoliti (Buenos Aires, 1980) works as a visual confrontation with the traditional identity parameters based in queer theory and feminist critique on sex, gender and architecture. Minoliti aims to break these parameters, using geometry and design,in order to provoke a visceral and immediate response to the images; a response that precedes the rational analysis of the artistic and historic references embedded in the paintings.
Throughout the series we see different geometric beings interact in an intimate and quotidian way over vintage scenarios taken from interior design catalogues from the seventies and eighties. Just like in Beveridge’s work, once the image is stripped of certain elements, in this case, gender and roles, the protagonists of Minoliti’s paintings become empty signifiers filled as gaps by our own personal baggage and experiences.
With the slogan ‘you’ve come a long way, baby’ , Virginia Slims,introduced to the market in the late 60’s, linked its product identity to the discourse and ideas of that era; women’s liberation, emancipation and the empowerment of the young female professionals of the time. The cigarette was originally designed to be thinner and look more ‘elegant’, as well as to produce less smoke than their regular equivalents. The color scheme of its logo and package represented what the brand understood, at the time, that a woman was and aspired to be; elegant and delicate, independent but fragile.
The work of Adriana Lara (Mexico D.F, 1978) uses symbols as foundational structures from which the artist creates new meanings. In Smoking Kills (Virginia Slims), 2014 Lara appeals to the viewer not from the symbolic load of the product, its origins and history, but rather by appropriating the cigarette package as a ready-made marketing form and re-contextualizing it as an object of desire, away from its current prohibitive nature and deprived of its connotations.
On the other hand, the video of Beatriz Santiago Muñoz (San Juan, 1972) , CRÍ-A, 2014, is a comment on animal husbandry, managed reproduction and other ways of transforming the symbolic through concrete actions, creating a metaphor about life and the development of all types of creatures, and on how raising and upbringing become a way or re-organizing the world, not from a role given by gender, but from a discipline, a habit, an everyday construction.
Lastly, the work of Amanda Valdez (Seattle, 1982) oscillates between representation and abstraction, involving the viewer as the link between what is being depicted and its personal symbolic load. In Only One, 2012, pink embroidery is used to make the bulk of the shape. Lightly sewn dark orange thread, creates an outline of two shapes that extend beyond the sturdiness of its base. The paint projecting out from the slit changes into a milky green/ blue-ish color as the viewer moves in relation to the light and the painting. The sense of embodiment and the strong physicality of her work, tell us about the body; our bodies, pain and pleasure, its parts, processes and experiences.
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