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carolina reportage lara - Gamero

Monday, February 8, 1999

Body: Body C

Section: Cultural Activities

Page: C08

OBJECT POETRY

During February, holds open the gallery Bucci with a cycle of facilities - Transit Open "- weekly samples of four young artists.

A first - and single-exposure group did it in 1996 in an area of \u200b\u200bthe Platina. Then called "Gamero", passing through the academy and, linked to the painting, lived the integrated intensity as a collective space for creation, discussion and growth. Today, still young, they walk different paths, away from the tradition and with a constant critical attitude toward art. Four of them presented in February at the Gallery Bucci (Orphans 526). After René Núñez, are samples Waidele Juan Pablo Schalscha and Jorge Carrillo. In individual subjects, their work only encounter from the precariousness of visual resources, and arising from the collection and disposal of recontextualization of the artwork. - What happened to the object of painting? Jorge: "When I was missing the fabric, I began to occupy the amount of tables and sheets of zinc that was on the river Mapocho. Then I began to identify with some items related to social and urban aesthetics. In the sample work with those plastic sleeves that put on the streets when they are cemented. I'm interested in what's happening in the center and also the language of comics, illustration and stage design, giving it a pomposity to waste, I'll decorate with lights bulbs. "Juan is the three-dimensional to us. His work comes from a speech he made in the Mapocho, where he threw thousand colored plastic balls. Make a composition with the material, working with the sensation that causes and also with the frames. René: "When he painted, painted sick and thought it would be realistic for all, that there was nothing else, because that was played by everything. In me it was an unintentional process. Gradually the painting will reach poetry where everything ends. " - At work with the object, where is the poetry? Paul: "It could be in the beauty, but not only that. Or have more to do with the metaphor ... - Like a (beautiful) ambivalence, where an object means more than an object? René: "As a doubt, that may mean nothing ... All these works have an aesthetic look, which can be in the beauty, sensitivity, aggression, nostalgia or irony. Is behind the concept. It is to provoke emotion and thought. And in between, in doubt, hopefully not mistrust. Not everything is so flat. " - Are they related to the painting? Paul:" Until recently I was same painting. I was a prisoner of language and wondered if the content of the image was superfluous, or aesthetic depth. What appears to be a painting show. It is simply an exercise on a big plane, a "gestural painting" that has to do with a move nothing personal. He insisted as well on the painting to show the huge backpack that by and check how far the limits of the rules of trade or of language. " Jorge:" For me, the step of painting the object was representation to the presentation. But always compare: the glaze can be a waste to use, the mediatinta, a zinc plate ... Through I object on the frame analogy used in paint and in the comic. At the end is more interesting to work with these materials with the stroke painting. - More than closer to Dada, his works reveal an attitude to art (and life) would not be exclusive of the artist as an open sensitivity to find excitement and meaning to any object or situation ... Paul: "As one catalog Claudio Bertoni: you can do anything with anything, so it was not a sentence, but a question in the air. It is something indefinable, which begins to pure smooth and you never know when it arrives. None of us do anything original or daring. Historical examples exist thousands. The only thing salvageable would individuality or, rather, the individual: the person, not the author. The experience and own look, which means that nobody else is. "

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SUPERVISOR: CRG