Posts by Cezara-Maria Casian

In this incredible powerful artwork of Javier Martin called “Entre el cielo y lo fluorescente” we see a serene, seductive model whose eyes have been covered up by a blending neon stripe. 

At this stage of his 15-year process of creating the iconic Blindness collection, Javier Martin presents a continuation of this series: it’s about the appropriation of light, the struggle and contraposition of natural and artificial light. It's about the things that blind us, that make us unsee the reality and the truth. It's about advertising and the battle between the real and unreal.

These three works from 1994 are part of the “Animal Spirits”-Series and they reveal a certain reference to formalism. At a closer look the fact that there works aren’t an actual painting is revealed: there are collage-like pieces of linen that have been glued on linen, like painting that dispenses with actual painting.

These paintings from the beginning of the 80s are like a fingerprint of a tumultuous time in New York and they are also skillful and incredible precise studies of perspective, spatial depth and of repetitive, dynamic Forms. 

In this series from the late 80's Judy Rifka enters a dialogue between the sculpture and the painting. The "History of Sculpture" - series presents us balanced, sharp-edged figures, which are not only pierced by circles, but they are also closed in neutral contrasts of black and gray tones.

 The "Wings and Columns" work presents us an accumulation of repetitive shapes that alternately change their position and orientation.

Created in 1974, these two works illustrate the complexity of unconventional, strongly geometric forms and the choice of an unorthodox medium: a symbiosis between large-scale, monochrome figures and solid wooden panels. The results obtained may be a testament to Judy Rifka's years of studies in the field of ​​space and form principles and the complex dialogue between the two-dimensionality of the surface and the three-dimensional form.

In this series from 1979, Judy Rifka explores the possibilities offered by surface and perspective within an image and a given medium. The work "School Days" possibly depicts the surface of a green school chalkboard - with fine brushstrokes that can perfectly imitate the texture of chalk, she writes "February", "123456", "NO". The female figures, as if suddenly awakened to life, begin to move forward in fluid, dynamic, progressive yet tempered movements - a sketched dog is depicted next to her.

The Ghanaian coffin artist Paa Joe is known for his artistic, oversized, quaintly painted and almost architecturally double-layered works, which always depict figurative elements.

This exhibition seeks to rediscover Venus: ideological and contemporary. As the title suggests, this show aims to encourage a philosophical discussion: is it possible to talk of a rebirth of Venus?