03/14/18 - Jorge Crowe and Hernán Soriano share their artworks at the venue donated by artist Eduardo Pla (1952-2012), a precursor in electronic and digital art. Crowe defines himself as an electro-artisan and in this exhibition he insists to "animate" technical objects of the past. His works "Mecatónica", "La voz de la fuente" and "Modo submarino" were created by using domestic magnetic tapes, turned into installations that broadcast sounds previously taped on them. Each of the pieces need the intervention of the visitors to activate them and, by doing so, a particular circuit of electronic noises begin. "Modo submarino" is the most interesting one, because with a small mic, it captures the sound of the electromagnetic charge of the cell phone.

Mecatónica, by Jorge Crowe

Exhibition "Memoria Magnética" - Espacio Pla

Modo submarino, by Jorge Crowe

Exhibition "Memoria Magnética" - Espacio Pla

La voz de la fuente, by Jorge Crowe

Exhibition "Memoria Magnética" - Espacio Pla

In the upper floor, Hernán Soriano invites us to propel moving pieces that occupy the entire space.  Guiding arrows are place to indicate the movement required. A soft push is suggested. The result is quite interesting: a guitar sounds through a piece of wood, two large water drums sound like musical drums and a washer, when it falls through a stick, activates a lever that typewrites. The sounds feel familiar and even archaic because they belong to elements which we used to have and are now forgotten. All these instruments are part of an orchestra in which the artist is the director.  Thus each piece has no title and they are all part of this "Lapso" in which they act simultaneously.

Bidones, by Hernán Soriano

"Lapso" at Espacio Pla

Hernán Soriano

"Lapso" at Espacio Pla

Hernán Soriano

"Lapso" at Espacio Pla

The exhibition deserves to be visited, activated and experimented in site because it is absolutely personal and each representation is different, according to how the visitor dares to manipulate the objects.

Malla Electrocinética, by Elías Crespón

Stainless steel, weights, nylon, motors, electronic interphase.

MALBA

These geometric choreographies, of such organic and poetic movement, are the result of a "behind the scene" that involves wires and complex electronic devices.

An artwork by Crespín is part of MNBA's permanent collection, donated years ago by a benefactor.  It was bought at ArteBA, at the request of the Museum's director of that time: Rodrigo Alonso. Unfortunately, it is not on display. The cinetic room would be a perfect setting, but since it only houses Argentine artists, there's no place for Venezuelan Crespín. We dare to suggest that it could be displayed, for example, at the entrance hall. The soft and harmonic movement of the piece would be an instant magnet to visitors entering the museum.

The series Failed Memories (2012-2015) by David Szauder (Hungary, 1976), in which the "errors" shown in the images were made on purpose, have a double message: memory and oblivion. In "Leona & Francesca", an image from the past is brought into the present thanks to a digital flaw. We see two sisters who used to share everything but, today, one of them does not want to share those memories. 

"The story of Mr Wolf" is different, it does not refer to the memories and the oblivion of feelings or resentments. Here we see a man that has worked so much and has written so many numbers, that his memory has been permanently modified. 

According to the explanatory card of the previous photo, Dora was the typical girl-next-door. Nor too pretty, nor too unflattering. However, she was sure of her unpleasantness. When her room caught fire, she came to a mirror and, in the middle of the flames, she saw herself beautiful as never before. She could not escape, caught by her vision. That was her last memory. 

Lauret Segretier's video is like a portrait that constructs and deconstructs itself through the pixels. We see  the face of an Eastern woman who moves gradually and sensually to the nostalgic music.

Although all the works on display in this exhibition (La Certeza del Error) have thorough explanations to guide visitors, Segretier's video leaves a door open for our understanding. The title Noli me tangere is Latin and it means: Touch me not. It appears in St. John's Gospel (20: 14-18) and it's said by Jesus to Mary Magdalene when she sees him for the first time after his Resurrection. This very important encounter in Christianity was depicted many times by artists from the past, such as  Tiziano's Noli me tangere.

We only presented you today a few works of the many that take part in La Certeza del Error, a very original exhibition, in which explanations (in the rooms, in the signs or in the catalogue) help visitors find the errors, voluntary or not, that the artists want us to see.

Keep reading... Exhibition catalogue "La Certeza del error", curated by Jorge Zuzulich, Ediciones Arte x Arte. September 2014 - CABA.

Here, some examples of what can be seen at the Arte x Arte Gallery, where a great number of artists "play" with all types of mistakes. 

We will first mention a video done with other videos taken from YouTube: models stumble on the runway.  The song Glamour Girl by Chicks on Speed follows the rhythm of these falls.

The second artwork is an installation with a circular track on which two objects move independently but, at the same time, depending on the movements of the other. The vehicles were programmed to interfere, crash or follow each other. When they collide, both mobiles have the same options: move forward or backwards in 4 different speeds. The result is unpredictable.

Keep reading... "Catálogo de la muestra La Certeza del error", by Jorge Zuzulich, Ediciones Arte x Arte. September 2014 - CABA