Sofia Bohtlingk | Silvia Gurfein | Tiziana Pierri | Juan Tessi
The artists in the booth we are presenting engage in a systematic exploration of the language of painting. They draw on conceptual approaches and enrich their practices with gender perspectives. They stand boldly behind the poetic power of the painting medium. Indeed, what connects them is their fundamental belief in the relevance of painting, and in the pleasure it offers, even when their work is informed by experimental impulses and contemporary themes.
Tiziana Pierri (1984) moves freely between abstraction and figuration in a playful pictorial practice. Her paintings make reference to modernist investigations of color and composition. With their odd palette and jarring use of elements associated with the world of women enjoying themselves (lipsticks, perfume bottles, champagne glasses, ribbons), her paintings turn modernism’s formalist legacy on its head. She has been awarded distinctions by the Fundación Andreani and the Banco Central de Argentina.
Juan Tessi (1972) is a major Argentine contemporary painter. His work never stays still, but endlessly explores the limits and concepts that construct the world of painting. While he has, over the years, incorporated elements of performance and non-pictorial materials (ceramics, Plexiglas), it is always at the service of painting—the medium he affirms. His work is nourished by reflections on the body, specifically the queer body, which Tessi associates with the idea of the body of painting itself. Solo shows of Tessi’s work have been held at the Museo de Arte Latinoamericano de Buenos Aires (MALBA) and Frieze New York, and his work has been included in group sexhibitions at the Museo Thyssen-Bornemisa, Madrid, the Museo de Arte Moderno de Buenos Aires, and other institutions and galleries.
Silvia Gurfein (1957) uses painting to ask philosophical questions about the act of seeing and the relationship between painting and writing. Her art can be read as a conversation between references to the image insofar as absence and a visuality that is ghost-like in its intangibility and elusiveness. She works with remains, vestiges, what seems to lie beyond the scope of vision or has been written off by the history of painting. Her practice is a back and forth between clumps of oil paint, pigments, and multicolored impastos—the material sediment and conceptual DNA of her work—and the canvas as place to gather traces of an absent body, namely the body of painting. She has been awarded fellowships and awards from the Fundación Klemm (first prize), the Salón Nacional (first prize), and the Banco Central de Argentina (first prize).
The production of Sofia Bohtlingk (1978) is grounded in an abstraction that stages the relationship the body establishes with the canvas. Halfway between painting and performance, her art is based on movement, as well as a materiality that makes the most of the poetic potential of restricted palettes—usually shades of blue—and materials related to the earth and the foundations of its inhabitability (concrete, wood, mud). The powerful romantic impulse in Sofia Bohtlingk’s art sometimes leads her to hide figurative elements in her hypnotic abstract landscapes. Bohtlingk has exhibited at the Museum of Modern Art of Buenos Aires; Centro Cultural Recoleta; CCK, Buenos Aires and other venues. She was awarded a prize by Fundación Fortabat.
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