SEMANA ARTBO
SEPTEMBER 29 - OCTOBER 3, 2021
A program of Cámara de Comercio de Bogotá
A cultural program of:
SEMANA ARTBO
SEPTEMBER 29 - OCTOBER 3, 2021
A program of Cámara de Comercio de Bogotá
A cultural program of:
On this occasion, Instituto de Visión brings together an exhibition that invites us to think about intimacy, the body, and eroticism from the perspective of two powerful Latin American artists, Karen Lamassonne and Aurora Pellizzi.
Pellizzi's work combines formal precepts of painting and sculpture with craft techniques. His practice is based on pre-industrial textile processes and materials, from natural dyeing to backstrap weaving. The fiber is used both as a pictorial field and materialization of the subject it represents.
Lamassonne proposes a series of autobiographical photographs, portraying his body and reflecting on the public and private space, mainly questioning the territory of the intimate.
Instituto de Vision is a Bogotá and New York based gallery for conceptual based practices. Our mission is to investigate conceptual discourses that have been neglected by the official Latin American art canon. We have recovered important estates from throughout the Latin American art of the mid XX century and we continue to research the most enigmatic oeuvres of the region.
Through a parallel program, we represent some of the most relevant of contemporary practices from Colombia, Chile, North America, and Venezuela among others. Directed by three women, Instituto de Vision gives special attention to female voices, queer theories, environmental activism, the conflicts of migration, and other critical positions that challenge the established order.
Using the international art scene as a platform, we are committed to give visibility and expand the work of artists that reveal critical realities and raise important questions for these contemporary subjects.
Her work is always autobiographical. Lamassonne illustrates her surroundings and emotions. Her creative drive is the necessity to communicate sensations when confronting with life’s natural beauty along with it’s passionate experiences. Always looking for what is “surreal” in every day in what is familiar, thus discovering concerns deep within emotions in relation to memory, life and death, revealing a sentimental itinerary of dreams and desires.
Aurora Pellizzi’s object-images are the result of painstaking labor, composed of thousands of small repeated gestures, much like the precise pencil drawings by Vija Celmins representing waves, or the exacting renderings of lines and grids on canvas by Agnes Martin. Her subject, the female body, is always in the presence of another though hidden current which is patience itself—the patience to which a woman is bodily subjected, from procreation to birth and breast-feeding. This lends the images a masterfully contained and rechanneled force resembling rage that ripples through the surface of the square renderings.
Her work is always autobiographical. Lamassonne illustrates her surroundings and emotions. Her creative drive is the necessity to communicate sensations when confronting with life’s natural beauty along with it’s passionate experiences. Always looking for what is “surreal” in every day in what is familiar, thus discovering concerns deep within emotions in relation to memory, life and death, revealing a sentimental itinerary of dreams and desires.
Aurora Pellizzi’s object-images are the result of painstaking labor, composed of thousands of small repeated gestures, much like the precise pencil drawings by Vija Celmins representing waves, or the exacting renderings of lines and grids on canvas by Agnes Martin. Her subject, the female body, is always in the presence of another though hidden current which is patience itself—the patience to which a woman is bodily subjected, from procreation to birth and breast-feeding. This lends the images a masterfully contained and rechanneled force resembling rage that ripples through the surface of the square renderings.
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