"Auxiliary Image" Marco Bizzarri | Francisco Pero
From March 29 to April 28, the exhibition "Imagen Auxiliar" by Marco Bizzarri and Francisco Peró will be open, curated by César Gabler.
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Wednesday to Friday: 11:00 - 19:00 hrs
Saturday: 11:00 - 14:00 hrs.
To visit at another time you can write to us on Instagram or at +56 9 84097561.
AUXILIARY IMAGE
Marco Bizzarri | Francisco Pero
Nearly sixty years ago, Gerhard Richter rebelled against his realist upbringing and the canonical styles of modern art he detested to dispassionately embrace the world captured in the mass photographs of newspapers and magazines. Happy families, celebrities, bombings, landscapes. The images were treated with the same dispassionate lack of emphasis, which his smudged, greyscale palette only accentuated. The initial break became a trademark, and Richter’s style a kind of photographic filter, one that conferred an instant aura of artistic interest to each and every one of his works. But his conflicted relationship with the photo, between mimetic adherence and the iconoclastic impulse of erasure, still troubles him.
Marco Bizzarri and Francisco Peró are heirs to this tradition, one that assumes the referent with an ambiguous attitude in which it is difficult to understand what the affective relationship with the image is. Because in the end, a particular form of iconoclasm appears in one way or another. Bizzarri splashes his paintings, after rigorously imitating some of the dozens of photographs he stores on his computer. Peró smudges and confuses his referent with pictorial marks that can be either deception or refined vandalism. For both, the photo, far from constituting an end, appears as a means to digress from other matters, ones that exceed both the nature of the image represented and the specific properties of the photographic medium. But it is undoubtedly a door-opener, a trigger that shoots their work in unforeseen directions and connects their sensibilities with experiences and memories that we barely glimpse.
The works of both painters coincide in a common distance from observed reality, as if the photographs that inspired them were only an incomplete part of an affirmation or an interrupted discourse whose end they seem to intuit. Painting then allows them to restore this missing idea, knowing that in the effort to reconstruct it something else will inevitably emerge, a deviation proper to the material, corporeal nature of a language that is both craft and matter. Painting.
César Gabler, visual artist and teacher.
