ON/OFF. Siete aproximaciones a la pintura: Collective show by Fernanda Brunet, Robert Janitz, Javier Peláez, Nicole Chaput, Rodolfo Díaz Cervantes, Madeline Jiménez and Santiago Merino
Past exhibition
Overview
A central component of SAENGER Galería is its exhibition program; evidence of this is the first exhibition in the Main Hall, On/Off. Seven approaches to painting, which brings together works that address painting today from different fields, either from the tradition of two-dimensionality, to the exploration in the volume, reminiscent of sculpture, installation and object. Likewise, the lines of interest of the seven artists participating in this exhibition allow us to draw an essential map of the evolution of painting. A map with diverse routes that guide us on the evolution of contemporary art, a period in which, despite the richness in the variety of registers and findings, there is a constant that tends towards hypertextuality. It is a fact that has been indistinctly denominated as sampling, remix or mash-up; although it would be appropriate to call it hypertextual. More than a juxtaposition of styles and motifs on a surface, there is a painting in dispute with itself. And although hypertext emerged with the advent of computers fifty years ago, it is from this century that its novelty became immanent to the reality of art.
Installation Views
Press release
A central component of SAENGER Galería is its exhibition program; evidence of this is the first exhibition in the Main Hall, On/Off. Seven approaches to painting, which brings together works that address painting today from different fields, either from the tradition of two-dimensionality, to the exploration in the volume, reminiscent of sculpture, installation and object. Likewise, the lines of interest of the seven artists participating in this exhibition allow us to draw an essential map of the evolution of painting. A map with diverse routes that guide us on the evolution of contemporary art, a period in which, despite the richness in the variety of registers and findings, there is a constant that tends towards hypertextuality. It is a fact that has been indistinctly denominated as sampling, remix or mash-up; although it would be appropriate to call it hypertextual. More than a juxtaposition of styles and motifs on a surface, there is a painting in dispute with itself. And although hypertext emerged with the advent of computers fifty years ago, it is from this century that its novelty became immanent to the reality of art. The artist now has at his disposal not only a canvas with predetermined borders, but an unlimited space, and instead of a logical discourse he has a continuous narrative without beginning or end, without hierarchies or any other division. Exceptionally, the contemporary artist can order the historical course that precedes him or her by making all kinds of visual and semantic interjections without the need to possess a statement; he or she also enjoys the opportunity to correct, expand or suppress his or her own narrative of the course of art. Similar to metafiction in literature, when observing and analyzing the works gathered in this inaugural exhibition of SAENGER Galería, it is possible to speak of a metapainting that questions itself from within and from outside its timelessness and circumstance. A work of art that assumes its condition from its own contingency.
— Christian Barragán
— Christian Barragán
Events
