2013/14 - LISTE 18 | The young art fair in Basel
2013/14 - LISTE 18 | The young art fair in Basel
2013/14 - LISTE 18 | The young art fair in Basel
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NoguerasBlanchard0/10/8NoguerasBlanchard,Barcelona/MadridAlex NoguerasRebeca BlanchardXuclà 7ES-08001 BarcelonaT +34 93 342 57 21M +34 637 777 257Doctor Fourquet 4ES-28012 MadridT +34 91 506 34 84<strong>in</strong>fo@noguerasblanchard.comwww.noguerasblanchard.comShown at <strong>LISTE</strong>:Anne-Lise Coste, 1973, FRWilfredo Prieto, 1978, CUIgnacio Uri<strong>art</strong>e, 1972, ESOther Artists of the Gallery:Rafel G. Bianchi, ESLeandro Erlich, ARMar<strong>in</strong>e Hugonnier, FRMichael L<strong>in</strong>, JPJuan López, ESFran Meana, ESEster P<strong>art</strong>egàs, ESShimabuku, JPDavid Maljkovic, HRRubén Grilo, ESAnne-Lise CosteRespire respire, 2012Airbrush andtempera on canvas60 × 48 <strong>in</strong>CourtesyNoguerasBlanchard,Barcelona/Madrid136 / 137Ignacio Uri<strong>art</strong>e’s discourse is focused onthe semantic field of the office environment,draw<strong>in</strong>g <strong>in</strong>spiration from the <strong>in</strong>formation,skills and supplies encountered <strong>in</strong> theworkplace. Anne-Lise Coste is known forher radical approach, <strong>in</strong> which the creativepotential of her <strong>art</strong> is <strong>art</strong>iculated througha spontaneity of gesture and what is directlyexpressed. Wilfredo Prieto is dist<strong>in</strong>ctive<strong>in</strong> his conceptual forcefulness, narrativebrevity, absence of superfluous elements,and ref<strong>in</strong>ed sense of humour. His practiceembraces the poetry of fragmentedth<strong>in</strong>gs – as manifested <strong>in</strong> this work, h<strong>in</strong>ts that<strong>in</strong>s<strong>in</strong>uate a circumstance that is not present<strong>in</strong> the <strong>in</strong>stallation.Fluctuat<strong>in</strong>g Folds (2012) by Uri<strong>art</strong>e is asculptural draw<strong>in</strong>g <strong>in</strong>stallation made throughfold<strong>in</strong>g sheets of white A4 paper. <strong>The</strong> usualstages of fold<strong>in</strong>g are slightly modified,allow<strong>in</strong>g a play of light and shadow betweengeometric and organic. <strong>The</strong> new series oftempera pa<strong>in</strong>t<strong>in</strong>gs by Coste presents acont<strong>in</strong>uation of the <strong>art</strong>ist’s <strong>in</strong>terest that goesfrom philosophical-existential questions<strong>in</strong> a playful and light-he<strong>art</strong>ed way to a subtlenaïf humour with poems, literary extracts,metaphors and simple draw<strong>in</strong>gs. In Fearof <strong>The</strong> Void (2012), a sculpture madeof bubble wrap, Prieto explores empt<strong>in</strong>essas a poetry resource. <strong>The</strong> <strong>in</strong>stallationcan be seen as the emergence of an entity<strong>in</strong>to presence, a new k<strong>in</strong>d of aesthetic,which is hand <strong>in</strong> hand with a highest senseof poïesis.Uri<strong>art</strong>e´s wall <strong>in</strong>stallation, the series o<strong>fair</strong>brush canvas by Coste and Prieto´sground <strong>in</strong>stallation are confront<strong>in</strong>g eachother at the exhibition space to br<strong>in</strong>gtogether a special energy of a contemporaryform of poïesis. <strong>The</strong> way that these <strong>art</strong>istsformally deal with the forms that arerevealed on the white/blank surface can beseen as a metaphor of the act of poïesis.