United we rise part 2

Débora Bolsoni | Dias & Riedweg | Maria Friberg | Adam Jeppesen | Niccolò Montesi | Steven Le Priol | Christiane Pooley | Florencia Rodriguez Giles | Sandra Vásquez de la Horra

3 July 2020 > 31 July 2020


Bendana | Pinel Art Contemporain is pleased to present « United we rise part 2 », an evolutive group show.


(Brazil): The installation (No name, but names), can be understood as a group of people marching in protest, or as a cemetery where cardboard silhouettes would serve as gravestones. Carts carrying the silhouettes create instability in the whole. "Individually, they have no names, but together they acquire a presence," says Bolsoni. At first glance, the works deal with the subject of drawing and its boundaries with sculpture, but on closer inspection, one notices that they also deal with the individual.


In the digital photography animations Arquivo Fantasia [Fantasy Archive], (Brazil; Switzerland) revisit the analog contact sheet archives and the professional activity of the American photographer Charles Hovland. For more than 20 years, Hovland published the same classified ad in the "Village Voice", offering his services to photograph people's sexual fantasies. He has archived more than 3000 people in black and white 35mm film. In the series of photographs Caleidoscópicas, Dias & Riedweg re-photograph the lay-outs of the male-nude magazines published by Charles Hovland in the 80s and 90s in New York. The artists set a kaleidoscope between their camera and Hovland’s original layouts. The results are fragments of the male bodies provoked by the mirrors of the kaleidoscope, re-evoking thus the mirroring effect of the analogical camera formerly used by Hovland. Again, the artists reinforce the kaleidoscope mirrors with sand-jetted engravings directly done on the glass that frame their final photographs.


(Sweden), questions preconceived notions of identity in contemporary society. The Days of Eyes series, produced at the time of the European High Court's landmark decision on the " right to be forgotten", depicts human figures in lush tropical vegetation; among the creepers, heavy and disturbing black cables merge with plant life.


Over the past few years, (Denmark) has explored different materials and printing techniques. The blue colour obtained by cyanotype, as well as the title of the series, The Pond, underlines the impression that these hands, transferred from negative to linen, float in the water.


The recent work of (France) revolves around the question of the real and its double, the figure of the author and ambiguous images. The Substitute painting series begun in 2019 is a deployment of this first work. Here the central question is that of the mimicry of figurative painting. Priol addresses the issue of reproduction by choosing to work from "bad" models (look-alikes, wax statues, stones and artificial plants...).


The work of (Italy) reflects the life, architecture and landscape of the remote island of Pantelleria. The island without a natural source of fresh water, draws it directly from the sea and distributes it through a system of aqueducts photographed from different angles by Montesi.


Voluntarily to let the viewer approach and penetrate her works, or for her to be able to project herself into them without being completely involved, (Chile) represents many views of indeterminate landscapes. Pooley elaborates compositions that mix different temporalities and, through distance, also treats, as if in an undercoat or double surface, a burning topicality referring to all the uprooted people the world knows today.


(Argentina): Biodelica is a series of drawings about the force of life (bios), which manifests itself (delia) in everything, in the bodies, in the pleasure of those who are capable of it, in the imagination, in the encounters between species, in all the worlds that are being invented and emerging at every moment in the biosphere.


(Chile) is known for her graphic work on different types of recycled and wax-coated paper. This act is part of the process of her drawing which gives the sheet an extra material dimension. While her creations are based on a vision of life, death and sexuality that is subtle, whimsical and full of humour, political resonances are sometimes suggested, evoking with restraint the violence of power.


United we rise

Francisca Aninat | Iulian Bisericaru | Thomas Broomé | Alberto Cont | Pablo Lobato | Miguel Rothschild | Sandra Vásquez de la Horra

26 May 2020 > 27 June 2020


Bendana | Pinel Art Contemporain is pleased to present « United we rise », an evolutive group show.


In the series of White Paintings, Black Paintings or other monochromes, (Chile) works from the corporality of the painting, emphasizing the time of action on it. Through the fragmentation of canvasses prepared on top of newspaper and with a basting process Aninat constructs large-scale monochromes that reveal the constant actions of repetition with which they were made. Time underlies both the multiplicity of each fragment and the precariousness of the thread used. In this way it allows the spectator a glimpse into the abyss of finding oneself confronted by a white canvas in which, in the end, it is the scraps of newspaper that allow one to establish narratives of origin and create fictions about the potential power of this language.


(Romania) is passionate about the relationship between nature and architecture. During his artist's residency at the "Cité internationale des arts" in 2019, Bisericaru had the opportunity to closely analyze the ecological crisis that Paris is currently experiencing and the solutions put forward by the City to deal with it. Bisericaru questions these strange mutations of the urban landscape and what they reveal about our society. How is a city or a community reflected in these choices, and to what extent do these reflections have repercussions over time?


(Sweden) uses repetition as a recurring technique in his artistic production - playing with words and forms. In his new paintings, Broomé evokes one of today's subjects: the consumption of resources. The works depicted in his paintings are a metaphor for natural resources, which are consumed to excess these days.


For about ten years now, the work of (Italy) has been focused on colour and light. A series of thin and translucent layers of paint literally veil the initial composition, obscuring it more or less intensely depending on the chosen tonality. La vita é bella pursues this research and highlights its particular technique of covering, transforming the canvases into a luminous vibration.


(Brazil): Prune the trees would be a perfect image to qualify a cut that favours enlargements by subtracting. This is what inspired the title Poda, a potted plant, once a decent simulacrum of nature, now cut on one side revealing its artificial consistency.


The new series by (Argentina) depicts a cloud of smoke caused by the burning that usually takes place on the fields of Granada in Spain. Rothschild then burns the photograph, giving an immersive character to his work. Adding a third dimension to the image, he combines the sculptural of the landscape with the photographic image.


(Chile) is known for her graphic work on different types of recycled and wax-coated paper. This act is part of the process of her drawing which gives the sheet an extra material dimension. While her creations are based on a vision of life, death and sexuality that is subtle, whimsical and full of humour, political resonances are sometimes suggested, evoking with restraint the violence of power.


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