The eyes, Chico, they never lie, 2020 by Natalia Moguel

Result #1

a, was a series of photographs that she had taken of the artists studio in Chis, a small town in southern Argentina. The photographs, shot between 2007 and 2008, were displayed in a series of exhibits organized by the Chis Museum and curated by Fernanda López, an artist who now lives in New York. The photographs were taken in the same location, but with different cameras, and they were arranged chronologically. As if they were not part of the original collection, they were almost certainly not originals.The photos were taken in the same place and in the same way as the original collection, but in different circumstances. Chis, for example, is one of the most impoverished areas of Argentina, so the photographs were taken in a low-income neighborhood of the city, as well as in the desert, where the studio is located. The photographer, López, describes the work as a project to investigate the everyday lives of people who live there, and she used the same method of recording the everyday things of life in Chis: She photographed a woman, a man, and a child sitting in front of a pool in the studio. The mother was seen sitting on the floor.The photographs were all taken in 2007 and 2008, and all are composed of a single image. The artist seems to have taken them from the same photographic source as the original collection, but the result is a new kind of objectivity. The photographer does not take the viewer on a journey into the world of the studio. Instead, she creates a place where people can live, work, and play. The people in the photographs are not subjects of a study of their everyday lives, but rather the people themselves.

Result #2

The eyes, Chico, they never lie, 2020 by Natalia Moguel, are not human. And in the world of modernity, we are made to know that we are not humans at all—that we are only the products of machines, the products of an authoritarian state.In the gallery of the Museu de Arte de Barcelona, the exhibition G.P.R.U.S. (Glimeration of the world, 2020) was installed in a large room, where the contemporary art of the future, like that of the past, was displayed. The gallery was divided into two parts: the first was a huge installation of paintings by the artists of the 1970s, a time when the world was still emerging from the ruins of the twentieth century, and the second was a group of works by the twenty-first-century artists, artists of whom we are still only a part. This large room was dedicated to the twenty-first-century art of the 20th century, with a small section devoted to the works of the 70s, as well as to works by artists such as Ad Reinhardt, Hans Haacke, and Philip Taaffe. The choice of works was chosen according to their status as modern or as obsolete. In the middle of the room, a small stage with a small theater set was set up, and a small group of children were invited to enter the theater and perform in front of the large stage. The children were invited to join the audience, and they were encouraged to become members of the audience. The children also had the opportunity to be taught by the artist Georges Rouault.The choice of the works was not based on the fact that they were modern or obsolete. On the contrary, they were linked to the past. It was as if the children, who were sitting in the audience, were descendants of the artists who created them. The choice of works was not based on the fact that they were modern or obsolete. On the contrary, they were linked to the past.

Result #3

The eyes, Chico, they never lie, 2020 by Natalia Moguela, is not only a reference to the face of the legendary philosopher, but also a gesture that signifies the rejection of the idea of the self, of the individual and of the state. The painting, which depicts a cross-eyed face with a mouth open, is titled after the philosopher, and thus also reveals its connection to the modernist era, and to modernist concepts of alienation and alienation, of progress and regression, of subjectivity and objectivity. In the middle of the painting, the eye, the face, and the state—the different elements that make up the self—are all seen as parts of a single, unified entity. The eye is the organ of the mind, and the mind is the organ of the body. But the brain is the organ of the body, and the body is the organ of the mind. Thus, the head is the brain, and the brain is the head. The head is the mind, the mind is the head. The head is the body, and the body is the brain. The head is the mind, the mind is the head. This is why the head is the brain, the head is the brain, the head is the body.Moguelas paintings have a surrealist quality, which is confirmed in the title of one of the paintings, which is titled Night Walk, 2020, in reference to the famous, but misunderstood, story by the poet and philosopher L.A. Salle. The story tells the tale of an imaginary traveler who meets a series of enemies at night in a labyrinthine labyrinth. The traveler is one of the gods, but he is not a god, but an ordinary man who has fallen into the abyss of the imagination. Mogulas painting is not only a commentary on the myth of the gods, but also on the myth of the mythological figures.

Result #4

The eyes, Chico, they never lie, 2020 by Natalia Moguela. In the exhibition, the photographer photographed a group of five men in traditional Russian dress, sitting in front of the studio, their backs to us. The men are made of thick, bulky-looking wooden panels; their bodies are covered with layers of polyester resin, often as thick as a palm. The backs are painted in black-and-white and almost always dark; the backs are painted in the same dark gray as the backs, and the backs are painted in the same shade of gray as the backs. The heads are covered with a thick layer of polyester resin, which looks like a thick sheet of cement. In one image, the polyester resin is seen pouring down a large hole in the floor. The polyester resin on the backs is white, so that the backs are all black, and the backs are all white. The polyester resin on the backs is white, so that the backs are all black. The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white.The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white. The polyester resin on the backs is white, so that the backs are all white.

Result #5

The eyes, Chico, they never lie, 2020 by Natalia Moguela, is a series of small abstract paintings on paper, each one a vivid, shadowy scene of a tiny scene, a single detail of a single scene. The painter invites us to explore the landscape of her imagination in the small details of her paintings. In the first room, a single, unprimed canvas hangs on the wall; the rest are covered with black paper, leaving only the green outlines of the outlines. The artist has used this method to create a series of abstract paintings, but here the black has been removed, leaving only the outlines of the outlines. The result is a landscape of patches of gray, a kind of forest of black. In the second room, a second canvas, also on the wall, has been removed, and the gray paper has been applied to the paper and to the paper and paper has been removed, leaving only the outlines of the outlines. The result is a gray landscape. The third room contains four more gray canvases, and one of the last paintings in the series. The gray paper has been applied to the paper and the paper has been removed. The result is a gray landscape. In the fourth room, a single gray canvas hangs on the wall. The rest of the works are covered with black paper, and the paper has been applied to the paper and the paper has been removed. The result is a gray landscape. The last room contains five more gray canvases, and another is covered with black paper, this time on the paper. The gray paper has been applied to the paper and the paper has been removed. The result is a gray landscape. In the middle of the room, the last painting in the series, is covered with black paper. The gray paper has been applied to the paper and the paper has been removed. The result is a gray landscape. The last room contains five more gray canvases, and another is covered with black paper, this time on the paper.