Concrete Space, an alternative art project, will open its doors to the public next Saturday, March 18th, with the exhibition "The Object and The Image (This is Not a Chair Either)".
Curated by Aluna Curatorial Collective (Adriana Herrera and Willy Castellanos), the exhibition will feature invited artist Chema Madoz, and will recover historic works by Hexágono: Equipo de Creación Colectiva (Havana, 1982-1985), integrated by Consuelo Castañeda, Humberto Castro, Sebastián Elizondo, Abigail García, María Elena Morera and Tonel.
The exhibition will give place to a prompt dialog between local artists from different nationalities, and will feature works from (in alphabetical order): Francis Acea (Cuba/USA), Mauricio Alejo (Mexico), Néstor Arenas (Cuba/USA), Susana Blasco (Spain), Karim Borjas (Venezuela/France), Álvaro José Brunet (Cuba), Isaac Cordal (Spain), Marina Font (Argentina/USA), Xavier G-Solís (Spain), Juan Sí González (Cuba/USA), Jesús Hdez-Güero (Cuba), Ronald Morán (Salvador), Martha María Pérez Bravo (Cuba/Mexico), Cecilia Paredes (Peru/USA), Rainy Silvestre (Cuba/USA) and Viviana Zargón...(Argentina).
The Object and the Image (This Is Not a Chair Either), brings back the quest of a group of artists to exploit this subject. They work from different visions and approaches in the creation of a hybrid and highly polemic object - an alter object -, whose values move around the intersection of the constructive practices of installation, sculpture, and the documentation of an authorial experience, and whose final product is a photograph in itself.
In this sense, the exhibition also exposes the artifact -the source of the exhibited photographs - uniting under one roof two instances traditionally separated in exhibition spaces: the image and its referent. This suitable coincidence will not only allow us a glimpse into the implicit mechanisms of image production, but will also propose to the spectator a journey through that zone that is neither the object nor its image: Rather, it is the mental process that transformed each artifact (in Latin "that which is made with art") into a mine field that questions the stable condition of the "order of things," and the concept of reality.
