Octubre de 2015, 01-31.10.2014, a group show with
Ezequiel Azambuya, Galería Ruth Benzacar, Gala Berger, Martín Bernstein, Andrés Brück,
Fango, Javier González Tuñón, Joaquín Gutiérrez Hadid, Mason Lindroth, Alejo Ponce de León,
Pablo Reche and Nicolás Sarmiento @ Galería Ruth Benzacar, Buenos Aires, Argentina.


Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, crossing tranversally the gallerys space Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, seen from a point of view close to the floor, from one of the end of the line of the four tube-like sculptures Sculpture installation previously described but now seen a bit from above from one of the ends of the line of tube-like sculptures Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of two of them Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of two of them Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of only one of them Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, seen a bit far away from on the extreme points of the line, the picture has a touch of flashlight

Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically, detail of one of them, installed separately, where a set of posters from the gallery hanged from a metal board Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of two of them Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of two of them Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of three of them together, the show in general had a dimmed light set up Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of only one of them Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of two of them, the photo has a touch a touch of flashlight look Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of only one of them, a blue grey marble like look can be visible partially from the drawings Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, detail of two of them Sculpture installation where a series of drawings are rolled up between two polycarbonate sheets, creating a tube like shape standing vertically and aligned in a line, crossing tranversally the gallerys space, seen from the opposite side of the line of tube like sculptures

Detail of how the tube like sculpture containing drawings is touching the ground, and some some details of how a simple rope supports the polycarbonate sheets to mantain their form Detail of how the tube like sculpture containing drawings is touching the ground, a diagonal thick line of ink from an A4 drawing is visible Detail of how the tube like sculpture containing drawings is touching the ground, a thick net of ink lines on a yellowish watercolor background, from an A4 drawing, is visible Detail of how the tube like sculpture containing drawings is looking from inside, like a dark void in this case, refering to the drawing installes separately closed the gallerys office Detail of how the tube like sculpture containing drawings is looking from inside, a magnet and various layers of watercolor drawings are visible Detail of how the tube like sculpture containing drawings is looking from inside, another magnet and various layers of watercolor drawings are visible Detail of how the tube like sculpture containing drawings is looking from inside, a watercolor drawing is visible inside, a bit yellow-green, the only tube that had only one drawing in itself Detail of how the tube like sculpture containing drawings is looking from inside, various layers of watercolor drawings are visible and a small calendar with a puppy picture is hanging there, in between the drawings Detail of how the tube like sculpture containing drawings is looking from inside, various layers of watercolor drawings are visible and a small calendar with a puppy picture is hanging there, in between the drawings Detail of how the tube like sculpture containing drawings is looking from inside, a yellowish tube like void is visible reaching the floor Detailes of one the sculptures, some layers of watercolor drawings are visible, blue, black and grey color from a packaging paper, is the palette of this one Detail of how the tube like sculpture containing drawings is looking from inside, a magnet and various layers of watercolor drawings are visible

"Tubo Semiluminoso 1-5 (Semi-Luminous Tube 1-5)".

Mixed technique on paper, polycarbonate sheet, cable, rope, printed calendar from a shop, neodymium magnets.
120 cm high, variable diameter.
2014.


Photo credits: Martín Pisotti.


Detail of the sculpture installed close to the gallerys office and attached to the flyers board, on a low lght scene Installation view, from behind the glass door from the gallery Installation view, the most frontal one from all the batch of pictures Installation view, the tube like sculptures seen from their side, detail Installation view, the tube like sculptures seen from their side, detail

View from only one of the sculptures, 120 height, variable diameter View from only one of the sculptures, other side from the previous pic, 120 height, variable diameter Detail from only one of the sculptures, same as the previous pic, 120 height, variable diameter Detail from only one of the sculptures, same as the previous pic, 120 height, variable diameter Detail from only one of the sculptures, same as the previous pic, 120 height, variable diameter Detail from the installation, a gray dove sticker saying argentina on a column, from the show, has certain similitude to the sculpture seen in the background

"Tubo Semiluminoso 1-5 (Semi-Luminous Tube 1-5)".

Mixed technique on paper, polycarbonate sheet, cable, rope, printed calendar from a shop, neodymium magnets.
120 cm height, variable diameter.
2014.


Photo credits: Javier Gonzalez Tuñon.


Installation view from one of the sculpture, close to the sculpture from Ezequiel Azambuya that consists from a desktop computer on a pedestal in front of an empty canvas, to show a bit of how the works were seen beside each other Installation view from one of the sculpture, close to an a4 sign saying Siga el Azul (Follow the blue) from Gala Berger

Installation views, beside Ezequiel Azambuya and Gala Berger's works.

Photo credits: Ruth Benzacar Gallery's press release.



Exhibition's text + info.


October 2015, online review in Otra Parte magazine,
by Martin Legon.

In mid-November, after decades in Florida at 1000, the Ruth Benzacar gallery moves its doors; one of the capital events in the local artistic calendar, not only because of the sum of restructuring that entails leaving the downtown in search of new poles in Villa Crespo and La Boca, but because rarely has the scene lent itself so open to reflecting in situ on the movement of a reference place. In that sense, it is fresh and healthy that the gallery board proposed Alejo Ponce de León, a young curator with little experience in the medium, to project a closing with absolute freedom.

Two issues are striking in Ponce's curatorship; firstly, the verticalism implicit in all the final assembly and production decisions is evident, and consequently we are witnessing a collective exhibition that establishes the curator as the axis of construction of a contemporary installation. Secondly, interaction is also observed outside the traditional circuit of names, by entrusting the design of specific pieces to a closer circle of friends. Prioritizing a tone, the exhibition seems to address in parallel the idea of the end of the cycle that is perceived, latent, in the national semantic field; This is what they refer to from the title October 2015 to a reference to Máximo Kirchner in the room text and a link to next year's electoral roll, which gives rigorous reading to a sample that is extremely soulless in its ability to represent, but that It perfectly outlines a question: how to stage, in short, the closing of a period, a transmutation, a change?

With this in mind, and in a movement of almost cinematic beauty, we are invited to leave the gallery and walk down the long side hallway until we find the lights, the cement and the cars parked in the underground parking lot of Plaza San Martín. Although every parking lot is in itself a great metaphor for the transition, in this case a more existential and intrauterine sense prevails. There, at the end of the tour, some works from the personal collection of Ruth, the emblematic founder of the space in 1965, who died in May 2000, hang from the ceiling. Sívori, Berni, Romero, Pombo float among dozens of people who pass through the place daily, foreign to the mythical place of Argentine culture. For this reason, and for the absence in the main room of any concomitant canonical gesture, the closed concept that Ponce elaborates for his artistic-political requiem suggestively formulates, with its ostracism, the impossibility of drawing on a tradition or of linking productively with a passed beyond descendants, simultaneously questioning the limits of an installation and the role of art in praxis.



"October 2015", curated by Alejo Ponce de León,
Ruth Benzacar Gallery, Buenos Aires, October 2014.



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