Lima, Perú · 19.05.2016 - 22.05.2016
Leo Battistelli, Martha Boto, Marcela Cabutti, Beto De Volder, Manuel Espinosa, Gachi Hasper, Enio Iommi, Julio Le Parc, Raúl Lozza, Matilde Marin, Martín Reyna, Andrés Sobrino, Axel Straschnoy, Gregorio Vardanega, Ventoso
Del Infinito’s curatorial proposal presents the works of artists Leo Battistelli, Ricardo Cárdenas, Gachi Hasper, and Ventoso, seeking to place the focus both on the symbolic value of the works exhibited and on the process defined by the relationship and complicity that artists find with the materials used. The works of each of these young exponents of the national and international art scene show a refreshed sight of appreciation for the return to the expertise in the craft they carry out and the need to display the traces of those processes. This selection shows a diverse use of both resources and supports, which results in a wide variety of visual possibilities. Even so, they all come together in a journey that offers a renewed way of relating to contemporary art.
While Gachi Hasper and Ventoso approach pure geometric practices and the study of the anatomy of shapes, Leo Battistelli and Ricardo Cárdenas introduce organic expressions and an approach to nature which they translate into sensitive and ethereal works.
Leo Battistelli manufactures his pieces with natural elements that carry within themselves an alchemical process that mix both water and earth to model the objects that emerge from uniformity, seeking to capture the ephemeral instant that refers to the spiritual world of symbolic exchange. His works include a development that evokes identity memories, rituals, and celebrations. The colors of its pieces exude the tonal exuberance of the Candombé and through them, it manifests a tumultuous and delicate beauty that makes us think that Battistelli has the secret of attaining perfection.
Ricardo Cárdenas works from images of nature and translates them into linear structures through several materials such as steel, bronze, and aluminum. His work updates constructive models and shapes that are already present in modern sculpture. Its visual solidity originates from the stain drawn which is essential in the creative process. His works demonstrate the potentiality that resides within the constructive conception of each work and also, behind the apparent simplicity the compositional complexity relies upon.
Graciela Hasper chooses to joyfully embrace the abstract tradition, absorbing it from all of its aesthetic legacies, but without becoming a faithful representative of its codes. On the contrary, the abstraction in Hasper is omnivorous: she adopts, quotes, honors, appropriates and pollutes her ancestors, later condensing them into her own language that makes her one of the most important abstract painters of her generation.
Ventoso is also influenced by the architectural shapes that surround him, those with which he synthesizes the feeling of movement in his work and which are translated through the use of unconventional materials, such as high-density polymers, which allows him to highlight the value of the volumetric aspects, creating an impeccable geometric impression.
Once again Del Infinito seeks to establish a platform that favors the exchange and the bond between local and international artists, evidenced by its commitment to contemporary issues by stimulating new forms of approach and critical thinking of art with its works.