April 21 - 23, 2023
A program of Cámara de Comercio de Bogotá
A cultural program of:
April 21 - 23, 2023
A program of Cámara de Comercio de Bogotá
A cultural program of:
The work of contemporary artists Alejandro Sánchez (1982), Alejandro Rauhut (1981) and Andrés Frix (1979), leads us to explore the depths of visual perception, challenging our pre-established notions of reality and taking us to a realm of sensory experiences. unpublished His pieces are not simple static representations, but are imbued with a dynamic energy that transforms the space around them. Through these tasks and the commitment to conceptual art, they show us the power of light over any optical phenomenon, thus opening a door to a universe of infinite possibilities.
Proceso Art Gallery was born in 2021 as an independent space to exhibit and represent emerging artists with a short and medium career. Its name shows that the primary interest of the space is linked to supporting and following the creation processes, leading them into circulation and exhibition through curatorial exercises that promote the integral understanding of the production carried out by the artists. In particular, the gallery focuses on serial edition works, which are developed in graphic media associated with the PEREGRINO Print Lab workshop.
Top Ten. The world of art, as vast and diverse as human emotions, has become a lucrative business where commercial strategies are almost as important as creativity itself. In my work “Top Ten,” I seek to highlight, in an ironic manner, these strategies used in the comercialization of contemporary art. At the heart of my artistic proposal, I have chosen realistic painting as a visual device. This choice isn’t casual, given that realitic painting has been for a long time the traditional economic basis for comercial galleries and art auctions. It’s a form of art that has been revered and tied to the general conception of art in the mind of many. In “Top Ten,” realistic painting turns into a window to this world of commercial art, a door that opens to reveal the irony behind the marketing strategies. As a second element, I have incorporated the last names or plastic artists that appear repeatedly in the “Top Ten” lists of artists on a world wide level. These names’ popularity have become a guarantee for sales in the art market. However, by highlighting them in this way I’m pointing at the way in which comercialization has dictated what’s valuable in art and how this perception can be superficial. The third element in the “Top Ten” are the neon signs. These iconic signs in the world of commerce since the beginning of the 20th Century, has also become a common denominator for contemporary artistic production. Neon signs remind us constantly about the influence of money and the market for artistic creation. By incorporating them with an illusion, I highlight the intrinsec connection between art and commerce, a reality that is often overlooked or deliberately ignored. Ultimately, “Top Ten” is an ironic exploration of how art has become a global business. Using realistic painting, the names of famous artists the neon signs, I seek to question our perceptions about the meaning of artistic value and to remind the public and myself that art should be appreciated by its creativity and meaning, beyond any commercial strategy surrounding it.
Top Ten. The world of art, as vast and diverse as human emotions, has become a lucrative business where commercial strategies are almost as important as creativity itself. In my work “Top Ten,” I seek to highlight, in an ironic manner, these strategies used in the comercialization of contemporary art. At the heart of my artistic proposal, I have chosen realistic painting as a visual device. This choice isn’t casual, given that realitic painting has been for a long time the traditional economic basis for comercial galleries and art auctions. It’s a form of art that has been revered and tied to the general conception of art in the mind of many. In “Top Ten,” realistic painting turns into a window to this world of commercial art, a door that opens to reveal the irony behind the marketing strategies. As a second element, I have incorporated the last names or plastic artists that appear repeatedly in the “Top Ten” lists of artists on a world wide level. These names’ popularity have become a guarantee for sales in the art market. However, by highlighting them in this way I’m pointing at the way in which comercialization has dictated what’s valuable in art and how this perception can be superficial. The third element in the “Top Ten” are the neon signs. These iconic signs in the world of commerce since the beginning of the 20th Century, has also become a common denominator for contemporary artistic production. Neon signs remind us constantly about the influence of money and the market for artistic creation. By incorporating them with an illusion, I highlight the intrinsec connection between art and commerce, a reality that is often overlooked or deliberately ignored. Ultimately, “Top Ten” is an ironic exploration of how art has become a global business. Using realistic painting, the names of famous artists the neon signs, I seek to question our perceptions about the meaning of artistic value and to remind the public and myself that art should be appreciated by its creativity and meaning, beyond any commercial strategy surrounding it.
At first glance, Alejandro Rauhut's series may appear to be an eclectic combination of styles and themes, but upon delving deeper into his work, an interesting coherence is revealed. His inspiration stems from the human being, divinity, and the inner quest. His artworks are imbued with a profound sense of introspection and reflection. Through physical, digital, interactive, and installation pieces, he challenges the viewer to question their own existence and explore their own inner journey. It is precisely this emotional and transcendental connection with the audience that makes his work powerful and relevant. One notable aspect of Alejandro's creations is his experimentation with lights, shadows, reflections, and projections. These elements become powerful tools that he uses to create a visually impactful and immersive experience. By exploring and playing with these technical aspects, by incorporating materials such as mirror, glass, acrylic, and light, among others, he brings his ideas to life, transcending the contemplative and involving the viewer and the environment in his work. Each of his series is a journey in itself. His search to combine different visual and aesthetic elements creates striking compositions that capture the viewer's attention and immerse them in a sensory experience. The lighting techniques he employs are particularly captivating as they play a crucial role in highlighting the beauty and fragility of the human condition. His artworks defy established artistic conventions and open new doors to interpretation. Each exhibition he presents becomes an opportunity to immerse oneself in a world of introspection and contemplation.
At first glance, Alejandro Rauhut's series may appear to be an eclectic combination of styles and themes, but upon delving deeper into his work, an interesting coherence is revealed. His inspiration stems from the human being, divinity, and the inner quest. His artworks are imbued with a profound sense of introspection and reflection. Through physical, digital, interactive, and installation pieces, he challenges the viewer to question their own existence and explore their own inner journey. It is precisely this emotional and transcendental connection with the audience that makes his work powerful and relevant. One notable aspect of Alejandro's creations is his experimentation with lights, shadows, reflections, and projections. These elements become powerful tools that he uses to create a visually impactful and immersive experience. By exploring and playing with these technical aspects, by incorporating materials such as mirror, glass, acrylic, and light, among others, he brings his ideas to life, transcending the contemplative and involving the viewer and the environment in his work. Each of his series is a journey in itself. His search to combine different visual and aesthetic elements creates striking compositions that capture the viewer's attention and immerse them in a sensory experience. The lighting techniques he employs are particularly captivating as they play a crucial role in highlighting the beauty and fragility of the human condition. His artworks defy established artistic conventions and open new doors to interpretation. Each exhibition he presents becomes an opportunity to immerse oneself in a world of introspection and contemplation.
The project is a direct consequence of his research from many years ago, in which drawings, collage, graphics and publications related to comics and fanzines, now become a series of neon’s and light boxes, which propose a space where The viewer enters a kind of succession of texts and images - loaded with humor and pathos - that reflect on human relationships, ambitions and failures at various personal, psychological and sociological levels.
The project is a direct consequence of his research from many years ago, in which drawings, collage, graphics and publications related to comics and fanzines, now become a series of neon’s and light boxes, which propose a space where The viewer enters a kind of succession of texts and images - loaded with humor and pathos - that reflect on human relationships, ambitions and failures at various personal, psychological and sociological levels.
The project is a direct consequence of his research from many years ago, in which drawings, collage, graphics and publications related to comics and fanzines, now become a series of neon’s and light boxes, which propose a space where The viewer enters a kind of succession of texts and images - loaded with humor and pathos - that reflect on human relationships, ambitions and failures at various personal, psychological and sociological levels.
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