Muestra | Como un jazmín liviano | Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Como un jazmín liviano - Hugo Albrieu
Inauguración - Nicolás Stancich, Yuyo Gardiol, Fepi Farina, Hugo Albrieu, Paloma Recalde y Juliana Leiva
Inauguración - Leila Tschopp, Hugo Albrieu, Yuyo Gardiol y Fepi Farina
Inauguración - Yuyo Gardiol, Hugo Albrieu y Fepi Farina
Como un jazmín liviano | Hugo Albrieu
Como un jazmín liviano
By Hugo Albrieu
Texts by Mariana Robles and Mariel Matoz
Sala Viamonte
In the work of Hugo Albrieu, the images dwell in an intimate and personal scenography, cosmic yet close. Things interrupt distance, fragmenting the immense boundaries that exist between what is different, originally classified as artificial and natural, as well as subject and object, or interior and exterior. The blossomed everyday floods distant regions: groves emerge from a teacup, flowers cry, drops suggest fire, and all of us have arrived at some landscape. In Como un jazmín liviano, painting is a way of caring for the folds where another order—indescribable and silent—hides; where other times and spaces tear endlessly within what is.
Excerpt from exhibition text by Mariana Robles
"The paintings occupy the air and the solid expanse of the walls where they rest: they dialogue with each other along the edges of their clear contours. The colors spill their presence into the spongy boundaries of the installation and offer our bodies an immersive experience. These paintings, with their forms and chromaticisms, describe a world that becomes luminous, they edit what we see and remind us that by looking through the incandescent slit of the images, our vision is transfigured."
Excerpt from text by Mariana Robles
Sala VIAMONTE
CRUDO – Italia 1044
Rosario