Del Infinito presents ‘Womens’ double’, a show that brings together Gachi Hasper and Mariela Scafati under Philippe Cyroulnik’s curatorship, following along an investigation about argentine artists active during the 90’s and 00’s who looked at geometric art as a means to express themselves in varied ways. And who, pierced by the movement, gave it a new contemporary meaning. Cyroulnik explores the relationship between the artists though an analysis of the path taken respectively, though their works. Paintings in large format for Hasper, her way of bringing in abstract tradition with joy, absorbing its aesthetic legacy but without allowing it to contaminate its true meaning. In parallel, paintings and installations that spread through different periods of Scafati’s career, where we can find both pictorial aception as well as an approach to elements of the everyday universe.
One shines thanks to her ability to make and break color through a subtle game played though the drawing of the line. The other appropriates clothes in order to produce paintings.
One pushes through changes and breaks in rhythm and the overlapping of different forms in order to make the latter and their color, vibrate. The other transforms objects into artworks and viceversa.
One practices the rectangle’s and circle’s valse. The other shows her affection for bands and planes.
One favours color and caligraphy in posters of popular dances. The other likes to make color penetrate the words she puts out into the world.
One knows that the orthogonal shape of a facade can hide columns overflowed by archives of our tragedies. The other goes further into the country of color filled with grooves of hope.
One likes to make geometry appear and disappear in a kaleidoscopic manner fueled by polychromy. The other prefers the work to double as furniture or, even, clothes.
One takes us under the overbearing net of color. The other finds color even in the unthinkable.
One, Graciela Hasper, presents paintings, but one must not forget that she is, too, a photographer and videographer. We have to remember her urban murals where images of posters highlighted a topography of forms, representing the colorful presence of its contours
The other, Mariela Scafati, deviates the work of art through to hybrid objects that traverse genre; not painting, sculptures or installations but all of them at the same time. She likes to take things the other way round, to integrate fragility, a conscience about the ineluctably obsolete. She know how to inscribe words that draw their presence independently, with phrases of the like: “melancholy is not always negative” or “aggressively not violent”. I recall her Teléfono!, un pequeño encuentro con Lidy Prati, one of the most beautiful and subtle installations I have ever seen in Buenos Aires.
With their energy and impertinence, they refresh our vision, wipe the slate clean of stereotypes. This show works like a sort of double feat by two of the greatest ladies of argentine abstraction.