Six artists investigate living things at Poème pop-up

“Nothing is ever repeated the same way. What comes back comes back transformed.“” is a Japanese phrase that will drive you crazy. The heartbeat of the living. Fractal Volume II, A pop-up set up at Poem on November 10, 11 and 12 featured it with the aim of replacing the previous experience. Cynthia Carlini, Marcela Ferrero, Luisa Freixas, Claudia Iturralde, Angeles Jacobi The first edition explored the echoes of infinity, and this time, six artists, joined by Soledad Costantini, sought to recognize that infinite living substance.

Without the weight of the last name that connects my collector father and film director mother, Soledad is in charge of Malba literature; She co-founded the publishing company El Filo de Ariadna with Leandro Pinkler, co-founded the Buenos Aires International Literary Festival (FILBA) with Pablo Braun, and is manager of the Writers’ Residency in Malba (REM). Showing his work to the public for the first time as a photo series It flows with other things on display in the community.

“Four selected photos” You can also view the same process from different angles – Costantini recognizes multiple intensities of blue in front of him, evoking water, ice, and clarity –. This was made from an airplane – he points to one of its parts – and you can see the Himalayas. It was a trip to Kathmandu.. They are photo upon photo, with sky and stones superimposed on top of each other. It is, as a whole, a veiled photomontage piece. A liquid that never stops. “In search of fluids, this is how my photography was born.”

listen carefully Added Claudia Iturralde and the concept of glazes.. “It’s about approaching the veil, exploring it, understanding what the soul says and embodying it. Soledad has many photographs, but for this occasion we chose these four. These blues reflect a kind of melancholy, sadness.”

These veils bear traces of what his eye perceived and imagined to explore the boundaries between the natural and the artificial. “His work reminds us that every image is a form of respect – says Sophia Di Scalathe philosopher and art researcher describes his attempt to touch the ungraspable in his curatorial text.

Through the exhibition, Iturralde, an art history graduate and lawyer, reinforces the idea of ​​a community in contact with artists who work with a sense of interdependence. “Each traces the breath of the world in her own language,” explains Di Scala.

Nature and the four elements form an important axis of inspiration for Marcela Ferrero. With a background in architecture, “I graduated from UBA – she said with pride and the need to emphasize where I belong -. For family reasons I left the country many years ago, first to London and then to Geneva. I was lucky enough to be able to expand my base outside of my place, exhibiting in Berlin, Portugal, Geneva and Miami. My dream was to do it in Argentina – Ferrero admits – I used to participate in some small things to make it happen, but last year Claudia invited me to the first edition of ‘Fractales’, and here I am again with very geometric art, and that’s where I feel very comfortable. In these works are my spiritual explorations, perspective explorations, inner explorations, colors, gradients, and mandalas. (These serve as encounters, expansions, centers, receptions from the universe, the names she herself has assigned to them, and refer to moments of personal meditation). The four elements of nature are very relevant to me and I think they are what unites us all in this exhibition. ”

One of the centerpieces of the room is a knife-cut woodblock canvas layered on planes of various colors: blue, orange, purple, and green. “Then we sewed it layer by layer,” Iturralde points out, showing the stitches clearly marked. “It’s like a hem,” he says, and places his gaze on Luisa Freixas “I was raised to be a housewife,” she humorously attacks. Instead, “I’m a wood carver and an explorer.”

In his layered fabrics, fragmentary landscapes of the jungle appear not as exotic motifs but as visual and colorful memories, settling within each layer and bringing Brazil’s Ubatuba to life within each woodcut. “He makes prints on cotton, assembles collages, intervenes in them and moves away from traditional woodcuts, that is, displacement,” Iturralde contributes.

Trained at the Royal College of Art in London. Cynthia Carlini works with video art, light, and digital language. “Investigate the reality of time,” he reflected. Sophia di Scala. The artist proposes a Beckettian interpretation of absurdity, where moments overlap, reflect and anticipate. In the midst of pauses, repetitions, and resistance.

In the center of the scene is one of Iturralde’s sculptural works. The egg – there are actually three – appears as a container of origin and wholeness, of suspended time. “If you look closely, they are my three children in pelopinchos,” she says, holding in her expression a sense of motherhood, compassion, the beginning of the world, and a fragility conveyed by the large nutmeg placed in the corner to represent fragments, medicines, and amulets.

“Nutmeg, along with cloves, was used as a ‘medicine’ during the Black Death (the most devastating plague to humanity). During the time of the Inquisition, it was grounds for women to be burned at the stake. It was both protection and condemnation.“,” he points out, looking back at the butterfly hanging in front of an image projected on another wall. A playful idea of ​​butterfly effect, echo, chaos and death.

Restless and dynamic; Claudia Iturralde treats felt, a material made from woolen fleece, as if it were a living thing.. “My body is my tool,” he says. “Look, touch (separate some placed pieces to experiment with tactility). I step, press, knead, stretch…I borrow the concept of felting from Mongolian culture. It’s an exploration, almost a meditation, a process.. My felt is atmospheric and colorful. Color seduces and challenges me. I do a lot of research and look for the purest colors. Some are made with natural dyes, and many others are man-made. “I’m still a polluter.”

Almost silent, but with constant and minimal movement.”Ángeles Jacobi’s textile work “The Last Embrace” unravels, changes, and overflows in front of the people present.. “He is working on the mystery of what can be undone,” Di Scala claims in text posted on one of the walls. “In his unraveling movements there is a lesson about life. Nothing dies completely and everything comes back in a different form.” That discarded ball of embrace remains at the foot of the installation.

“Everything is very subtle and specific at the same time,” says Costantini. We feel that all our actions reflect the nature of our spirit. It has always been my quest to harmonize the spirit. I am a tireless seeker. ” Soledad looks at her colleagues and celebrates the lively embrace.