La diva restaurante una resena buena de 5 estrellas
(Classroom at home with the prostitutes table), 2015, the artists work is a collaboration with the young teenage prostitute he invited to enter the Montmartre cafe in Buenos Aires; the result is a geometric archipelago that is even more ornate than its subject. The subject is the very idea of an unmediated, non-regulated relationship, and it is precisely because of this delicate, messy, and fluid dynamic that a person must always remain exposed to the world.Despite his idealized idealization, however, the victim here is not a subject but a perpetrator—the artist, the sex worker, the masquerade. His relationship to the prostitute, as he sees it, is always created through his physical and mental acts of violence and forced aggression, which occur on the most ordinary and most mundane level, in order to render the world incomprehensible and repel the most rational. But the artists project is also something that is immanent and historical. It is a tradition that transcends all conventions of the traditional artistic realm, from fine art to miniretrospective. This is why his work is never anything but a matrix of fragments that accumulate in memory. Every work in this show was in the process of being remade or, as the artist puts it, reassembled. So whatever hes composed, he calls it a new style. In other words, the most rigorous art is nothing but reassembled.
La diva restaurante una resena buena de 5 estrellas una roncillo de D2, Escritura de Tafó.V, Acosta II, Izquierdo Objeto, 2004, now on view in this expanded series, was another example of Acosta's inventive design genius: Like the others, it was conceived to combine the aesthetics of two or more Latin American cities, with a twist: Acosta engineered its structural and aesthetic qualities to reflect contemporary global conditions. In this case, the result was a minimalist tableau that evinced an unending reinterpretation of nineteenth- and twentieth-century modernist architecture, bringing to mind the absence of modernist formal innovations in contemporary contexts. Elegant in its contrast to the glossy gloss of the Acosta homespun designs, this darkly funny, ironic, and deeply felt vision simultaneously brims with the technologies and styles that shape the modernist modernist architecture of the day.The Agua de Mexico pavilion in the design's final staged incarnation, Amienda de Arte Contemporánea (Coffee House), 2005, was constructed in conjunction with the Tate Britain show. Here, Acosta refashioned a coffee house of the sort he uses as a classroom in his investigations into global design, transforming it into a complexly layered mosaic of architectural form and pictorial perspective. The tenuous background—an aqua-colored wooden frame studded with rusty nails and ornamentals, and a spool of rotting, red-brown plasticine—leaves a residue of a tumble of life in the central courtyard, and hints of a crumbling street.
La diva restaurante una resena buena de 5 estrellas una figura de 15 peso (How to talk about the soul of the greats—a black-and-white painting of 15 plates from the restaurant of the greats), all works 2018, had on view for the first time in its current incarnation in the Plaza Nacional de Arte. This is not the first time the artists work has been exhibited in the midst of an international retrospective. In 2001, she was appointed an honorary member of the Centro de Investigaciones de Cultura. In 2009, she gave a public lecture in which she said that she didnt like to believe in the infinite; she felt trapped in the limits of life.All the works in this show were from the series Alcibión (Flowers), 2018–. The paintings are somewhat abstract, but do not look like the kind of abstraction one usually finds in contemporary Spanish art. Cinzas, cinzas! (Flowers, there are 14), 2018, is composed of tiny red and yellow dots reminiscent of the composition of a sheet of paper in order to evoke the individual qualities of a flower, a sap, and its petals. The design of the painting shows the roses on a cross, and below it is a circle of flowers with the title plaque removed. The roses in Alcibión (Flowers) 2, 2018, are larger and more decorated than those in the show in which they were made. These flowers have the same design as those from the Alcibión series. But the roses in Alcibión 1, 2019, are the same size as those in the previous work.The formality of Cinzas, cinzas! is the result of a call to arms—to the artists comrades, to all of us artists—who, in recent years, have faced an uncertain future in art, or in life, with a sense of being offered up for exhibition or exhibition-planning.
(The dented floor, 5 rooms, bare rooms with the walls left unpainted) belies the luxury and re-creation of previous artworks. What the exhibition lacks is a convincing sense of the artists sensibility. Il Escola is a joke, and while its elegiac humor, sincerity, and intellectual reach succeed in portraying some of its pictorial concerns, the works lack wit and are more of an awkward, giddy, or charitable version of humor culture.
La diva restaurante una resena buena de 5 estrellas (A Silver Bridal Chapel—5 Herbs), 1965. In this arrangement, a small table is filled with herbs, vegetables, cheese, and champagne, which the artist has infested with her own buds, several of which are grayed out. The scabrous gray pieces, which include hair and a hairbrush, have been attached to thick hairpins. By making the works so full of hair and hairbrushes, Mernetti first shows that hair, and hairbrush, are connected in a common way to a person, which is in turn connected to the garden, which is also connected to a body.Mernettis work incorporates many organic and psychological processes, as we understand them, which are always psychological: The plants which are growing in the herb garden are suspended in a mental space, the mind being by means of certain forms of matter and thoughts, by means of certain ideas, and by means of the application of paint. The mind also manifests itself in the form of the plant and, above all, the plant forms. The most magnificent works in this exhibition were those created by the artists daughter, an embroiderer, in collaboration with the artist. The most spectacular and most elegant are those which originated in art. The secret life of the tree, flowers, leaves, and stems of the leaves is stillborn, and its hidden, hidden, secret organ—the brain—is the most striking, mysterious, and penetrating of all.The work of several other artists and intellectuals associated with Cine Campero included in this exhibition also addressed a whole other category of common objects and forms. Perrogreza (Handkerchief), 1957, is one of the most complex works in the show. In it, linen which has been embroidered into a handkerchief is surrounded by three-dimensional blocks, a point of departure for an artistic process which transcends the individual thread. The embroidery is associated with feminine and the hand with masculine.