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"Unburden: Mauro Giaconi"
2006-10-27 until 2006-11-27
DOT Fiftyone Gallery
USA United States of America
Dot Fiftyone Gallery announces the premier of the first U.S. solo exhibition of the Argentinean Artist Mauro Giaconi, which was unveiled in cocktail opening reception Friday October 27, 2006. The exhibition will feature more than 24 artworks from the artist recent production. Includes drawings on canvas, paper and glass, three-dimensional objects and art video installations. For its uniqueness, creativity and powerful message, Mauro Giaconi's exhibition is a real gem for the Miami art scene. His work is a window and an interpretation of the chaos, that for those of us who live in big metropolis (going under deep transformations), we suffer as consequences of monumental condominium towers constructions and streets renovation. Miami nowadays is a clear example to these inconveniences we are exposed to.
Eva Grinstein, independent curator and art critic (Member of the International Association of Art Critics) who has done curatorial works: Malba Museum (Buenos Aires Museum of Contemporary Latin American Art / Constantini Collection), ARTE BA (Buenos Aires Art Fair), Rojas Cultural Center Buenos Aires and Bienal Do Merco Sul Porto Alegre Brazil, wrote about Giaconi's "Unburden" exhibition.
Mauro Giaconi, illusionist and constructor
Objects as structures of matter; buildings as scenography for reality; shadows as possibilities to see drawings, and drawings, which render it possible to fairly value shadows. In Mauro Giaconi's works, the repertory is austere, though heavy at the same time, loaded with sense layers that the artist is particularly interested not to show in a single shot. Much of his images and ideas are revealed in second delayed interpretations on details.
Giaconi works in the world of construction. That certainty arises out of the borders of the things that the artist chooses to represent bricks, scaffolds, tubes, wires, and stairs. Nevertheless, Giaconi's way of thinking goes far beyond shapes, materials, or tools. Behind images there are underlying questions, fear clouds floating on the fragility of supports; the underlying fear that what does not seem solid, may break into pieces at any moment. There are analogies, parallelisms. There are bricks aligned on the floor simulating buildings, which resemble beings. The risk is that the slightest touch may bring them down, that one of them may fall down starting the general catastrophe. At that point, as an option, there is also the hypothetic methodology of that long reddish line of bended bodies, each lying on one another, folded.
At his site-specific facilities, Mauro surrenders himself to the dialogue with the little contingencies, which distinguish one place from the others. Accidents and columns are integrated in the similarities system: a carpet which becomes a stain may well be considered a comment on the mutation of matter, of concepts, and of words; and at the same time, a touch of slight humor which sounds discretely within the framework of an imaginary which is strange to stridencies.
The sculptoric objects contribute to strengthen that line of conceptual investigation nourished by certain homage to impossibility and absurdness. The tools and the pottery helmet, the multicolor disk made of insulating tape rolls or the fluorescent tube with black strapping legs highlight this game consisting of ideas, which as simple as materialized. The cement backpack even allows a hidden interpretation oriented to politics. In any case, and in accordance with the rest of Giaconi's work, its potential politic nature only arises out of the fine spinning, it is never evident.
In the glass parts, which according to the artist himself constitute the link between the search for the picture and the objects, there is a retrospective look to what is not visible. The strokes create, but the image remains submerged in a delicate game, which is almost secret; it is only visible upon the incidence of a little light. The drawings made in pencil, on cloth or paper, complete the Works selection that Giaconi presents in his first individual exhibition in Miami. They are Works to be read on a counterpoint, back and forth, which range from the solitude of a light bomb hanging on nothing to a crowded weft supporting something that we cannot see. Volumes figured by representation are mere wise fictions of lights and shadows. At this point, stating that Mauro Giaconi is an excellent drawer would not seem to add too much; however, it does. How easier is to surrender to enchantment when the illusionist is really skillful!
"Unburden"." will be on through November 27th in DOT Fiftyone Gallery, 51 N.W. 36th Street, in the Wynwood Art and Miami Design District. Following the October 27 opening reception, gallery hours will be Monday-Friday, 12 P.M. to 7 P.M., Saturday and private viewing available by appointment.
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