"Composições" - Darío Escobar

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Registro da exposição COMPOSIÇÕES, de Darío Escobar, realizada na CASA TRIÂNGULO, em São Paulo, entre os dias 05 de abril e 07 de maio de 2016.

Text of "Composições" - Darío Escobar

  • DARIO ESCOBAR . COMPOSIES05-04-2016 a 07-05-2016

  • O interesse em justapor objetos de materiais e usos diferentes perceptvel na srie Natureza-morta, onde o artista explora formas de apresentar objetos advindos da indstria do esporte, como as bolas de basquete, ainda asspticos e distante do seu uso pelo corpo humano. Colocadas dentro de estruturas de madeira que acionam uma memria visual que vai do aqurio prateleira, suas circunferncias desconvidam ao toque e inserem o espectador em uma relao geomtrica frontal. J em Equilbrio, h uma tenso tanto do material, quanto dos elementos citados pelo artista: de um lado, as placas de metal remetem s esculturas minimalistas de Carl Andre; do outro, sustentando o seu peso, o vidro dos famosos copos americanos comercializados em So Paulo desde 1940 e j alados a smbolos do design brasileiro. H, portanto, uma sobreposio de Amricas onde duas tradies industriais se tornam uma coisa s.

    A pesquisa formal a partir da bidimensionalidade tambm perceptvel nas Composies de leo de motor, onde, tambm se utilizando de um material no-convencional, Escobar explora as possibilidades do desenho. Atravs do uso de leo de motor, o artista cria composies que so pequenos quebra-cabeas geomtricos onde o contraste entre preto e branco se faz estrutural. O olhar do espectador passeia por essas imagens e realiza uma lenta costura entre aquilo que se apresenta materialmente sobre o papel e o espao de imaginao para se completar os lados dessas geometrias incompletas.

    Essa operao de participao do olhar e do corpo do pblico d o tom da exposio. Assim como Daro Escobar comps esses encontros entre materiais, cores e formas, fica o convite para que os espectadores tambm realizem as suas prprias composies de modo ativo seja em uma srie especfica de obras ou no seu cruzamento de proposies dentro da arquitetura da Casa Tringulo.

    Raphael Fonseca

    A palavra composio possui uma carga particular no campo das artes visuais. Alguns espectadores podem associar o termo produo de John Cage e s pesquisas de sound art que convidam o pblico a uma fruio do som como elemento esttico gerador de sensaes e imagens mentais. J outras pessoas acharo difcil no associar o termo a algumas das obras mais famosas de Kandinsky, dadas a partir de sua relao entre a msica e a pintura e cujos resultados so considerados alguns dos primeiros exemplos da arte abstrata.

    O trabalho de Daro Escobar no deriva exatamente dessas duas rpidas aproximaes, mas certamente dialgico ao desejo de compor imagens a partir da geometria, tal qual observado no s na pesquisa de Kandinsky, como tambm em diversos outros artistas modernistas e contemporneos. As composies de Escobar se desenvolvem, geralmente, a partir da apropriao de objetos industriais que possibilitam atos escultricos e instalativos. No decorrer de sua trajetria de mais de quinze anos, o artista j trabalhou em dilogo com tradies visuais to diversas como o barroco guatemalteco, carcaas de carros acidentados e objetos vistos como smbolos do consumismo. Sua operao como artista se d a partir da seleo dessas peas e reconfigurao das mesmas a partir de aes como a justaposio e repetio, fragmentao e corte de materiais sempre em reflexo sobre como instal-los dentro do espao expositivo.

    Em Composies, dando prosseguimento a essa investigao, o artista apresenta trabalhos inditos no Brasil que prope distintas possibilidades a partir da apropriao e aproximao de elementos dspares. Nas sries Construo geomtrica e Construo modular, Escobar trabalha a partir de uma tradio comumente vista na Guatemala em que os caminhoneiros pintam de modo simtrico e com forte apelo colorista as traseiras de seus veculos. O artista cria novos padres geomtricos para as estruturas de madeira advindas dos caminhes e convida o pblico a abri-las e criar novas configuraes visuais.

    COMPOSIES

  • The interest in juxtaposing objects of different materials and uses is perceptible in the Still Life series, where the artist explores ways of presenting objects from the sports industry, such as basketballs, though in an aseptic way, distanced from their use by the human body. Placed within wooden structures that evoke a visual memory ranging from the aquarium to the shelf, their circumferences make them non-amenable to touch and place the spectator into a frontal geometric relationship with them. In Equilibrio [Equilibrium], there is tension arising both from the material as well as from the elements cited by the artist: on the one hand, the metal plates recall the minimalist structures of Carl Andre; on the other, supporting their weight, the glass of the iconic americano-style drinking tumblers sold in So Paulo since 1940 and now elevated to symbols of Brazilian design. There is, therefore, a superposition of Americas where two industrial traditions come together in a single piece.

    Formal research based on bidimensionality is also perceptible in the Motor Oil Compositions, also made using a nonconventional material, where Escobar explores the possibilities of drawing. Through the use of motor oil, the artist creates compositions which are small geometric puzzles where the contrast between black and white become structural. The viewers gaze wanders through these images and gradually stitches together that which is presented materially on the paper and in the space of imagination in order to complete the two sides of these incomplete geometries.

    This operation involving the participation of the gaze and body of the viewer sets the tone of this exhibition. Just as Daro Escobar composed these encounters between materials, colors and shapes, the spectators are also invited to actively make their own compositions whether in a specific series of works or in their crossing of propositions within the architecture of Casa Tringulo.

    Raphael Fonseca

    The word composition is charged with a particular meaning in the visual arts field. Some spectators may associate the term to the production of John Cage and the research of sound art which invite the public to enjoy sound as an aesthetic element that generates mental images and sensations. Other people find it difficult not to associate the term with some of the most famous works by Kandinsky, based on a relationship between music and painting, and whose results are considered some of the best examples of abstract art.

    Daro Escobars work does not derive exactly from these two quickly drawn associations, but certainly it has to do with the desire to compose images based on geometry, as observed not only in Kandinskys research, but also in that of various other modernist and contemporary artists. Escobars compositions are generally developed on the basis of the appropriation of industrial objects that allow for the production of sculptural works and installations. Throughout his more than 15-year career, the artist has worked in dialogue with a variety of visual traditions ranging from Guatemalan baroque, wrecked car bodies and objects seen as symbols of consumerism. His artistic operation takes place based on the selection of these pieces and their reconfiguration through actions such as juxtaposition and repetition, fragmentation and cutting of materials always in a reflection on how they can be installed within the exhibition space.

    Continuing with this investigation, in Composies [Compositions] the artist presents works being shown for the first time in Brazil, which propose different possibilities based on the appropriation and approximation of dissimilar elements. In the two series Construccin geomtrica [Geometric Construction] and Construccin modular [Modular Construction], Escobar works on the basis of a tradition commonly seen in Guatemala, in which truck drivers paint their wooden truck-bed side and tailgate panels in symmetrical patterns with strong colorist appeal. The artist creates new geometric patterns for the wooden structures normally seen on trucks and invites the public to open them and create new visual configurations.

    COMPOSIES

  • Vista da exposio [exhibition view] Edouard Fraipont

  • Vista da exposio [exhibition view] Edouard Fraipont

  • Obverse & Reverse XXVII, 2016latex, couro, corda, nylon e ao [latex, leather, rope, nylon and steel]170 x 320 x 290 cm Edouard Fraipont

  • Obverse & Reverse XXVII, 2016latex, couro, corda, nylon e ao [latex, leather, rope, nylon and steel]170 x 320 x 290 cm Edouard Fraipont

  • Vista da exposio [exhibition view] Edouard Fraipont

  • Composition No. 78, 2016leo de motor sobre papel [motor oil on paper]143 x 39 cm Gustavo Sapn

    Composition No. 90, 2016leo de motor sobre papel [motor oil on paper]80 x 75,5 cm Gustavo Sapn

    Composition No. 91, 2016leo de motor sobre papel [motor oil on paper]112 x 70,5 cm Gustavo Sapn

  • Composition No. 92, 2016leo de motor sobre papel [motor oil on paper]80 x 75,2 cm Gustavo Sapn

    Composition No. 93, 2016leo de motor sobre papel [motor oil on paper]71 x 70,8 cm Gustavo Sapn

  • Composition No. 94, 2016leo de motor sobre papel [motor oil on paper]80,5 x 71 cm Gustavo Sapn

    Composition No. 95, 2016leo de motor sobre papel [motor oil on paper]80,5 x 71 cm Gustavo Sapn

  • Equilibrio No. 4, 2016ao e vidro [steel and glass]14 x 300 x 300 cm Edouard Fraipont

  • Equilibrio No. 4, 2016ao e vidro [steel and glass]14 x 300 x 300 cm Edouard Fraipont

  • Modular Construction No. 7, 2015madeira, pigmentos e metal [wood, pigments and metal]100 x 162 x 9 cm Edouard Fraipont

  • Modular Construction No. 6, 2015madeira, pigmentos e metal [wood, pigments and metal]100 x 162 x 9 cm Edouard Fraipont

  • Geometric Construction No. 7, 2015madeira, pigmentos e metal [wood, pigments and metal]178 x 312 x 121 cm Edouard Fraipont