ArtNexus - News http://artnexus.com/Notice_View.aspx?

DocumentID=20044

Find us on:

Solo Show
Marco Maggi
Galeria Nara Roesler
Find here all the information on
Issue #71 Dec - Feb 2009
ArtNexus news.

Brazil, Rio Grande do Sul

Exact Search
Institution:
Galería Nara Roesler
Type
Claudia Laudanno Artist
Author
Marco Maggi. Hipo real (SP), 2008. Several
The solo exhibit Hipo-Real by Marco Maggi (born Montevideo,
incisions made with a puncheon on acrylic
Uruguay, 1957) took place on the main floor of the Nara
cubes. Variable dimensions. (Detail).
Roesler Gallery from August 13 to September 13. It was
curated by Adriano Pedrosa and was accompanied by a catalog
with critical texts.
From Lacan, we know that there are three fundamental
aspects of psychic life: the imaginary; the symbolic, and the
real. Within this context, Maggi, in Hipo-Real, points out the
diametrical difference between what is real and what is true,
for the latter has nothing to do with language and with the
symbolic realm. The exhibit is infused with Duchamp¿s
infralevel (inframince) indicator, presenting characteristics
that can confer, in terms of meaning, a certain degree of
opaque irreducibility, even as some works here play with
transparencies in terms of the absence of any type of dialectic
enunciation. Tautological relations and posthumous homages
can be discovered in this group of works. They appear to leave
behind a shadow ¿ like a less vivid and muted silhouette that
attempts to vanish, but is not able to do so completely ¿
revealing enigmatic and unsettling components that are subtly
signaled in Hipo-Real. To see this, one solely must analyze
works such as Complete Coverage on Klein and Fontana
(diptych), created with paper clippings and Plexiglas, San
Andreas Fault, dry point on aluminum, Malevitch, graphite on
paper, and Complete Coverage on Warhol (Marilyn).
Somehow, Maggi worked obsessively as a bricoleur on this
opus of small-format pieces by applying simple elements:
sheets of paper, Plexiglas, using a passe-partout, graphite,
and incisions on transparent acrylic, to shape a group of works
in which Maggi has drawn from a good part the avant-garde.
Making it into an ingenious tool for the calculated development
of a refined sensibility that is both ironic and comical ¿for it
renounces the seriousness with which both artists and critics
usually interpret modern aesthetics. This entire nucleus of
appropriations and free interpretation of ¿artistic¿ and auratic
texts¿ by, for example, Andy Warhol, Lucio Fontana, Ives
Klein, Robert Ryman, Jasper Johns, Sol Lewitt, Piet Mondrian,
and Latin Americans l Jesús Rafael Soto, Lygia Clark, Hélio
Oiticica, Lygia Pape, and Mira Schendel ¿are given new
meaning by Maggi.
It is precisely that strange velocity and restlessness of the
historic vanguards ¿that frenetic and fast exchange of theories
and meanings, occurring one after the other¿ that indicated a
certain desperation, where formal strategies such as the
collage, the readymade, the monochrome were used as
dwelling places, final refuges against banality. One must stop
at this point to reflect on the ¿time of the work¿ and the
¿intention of the bra¿ Maggi proposes, in contrast with tempus
fugit. Confronted by the isolation, harshness, and indifference
of today¿s world that are so prevalent in this
post-communicational era in which we live ¿ where human
relationships are always transitory and transferable¿ this
Uruguayan artist appeals to the recovery of personal contact,
as he invites the spectator to view his work calmly and to
discover in his installations ¿always created with minuscule
objects that nevertheless transform and redefine the spaces
they intervene¿ the way in which a micro-universe can expand
ad infinitum. This is why there is no narrative concerning the
minimum space in Maggi¿s installatory and objectual poetic.
Instead, it promotes a greater perceptive, a sensorial and
conceptual grasp of his intervened and installed pieces. This is
the case with Hip-Real, the work for which this solo exhibit is
named. There, it is possible to observe that double weight so
typical of Minimal and Post-minimal art, which implies a
duplicate process: constructive and destructive, a posteriori.
The installation covers the walls and floors with a serialized

1 de 2 27/09/2013 05:13 p.m.

ArtNexus - News http://artnexus.com/Notice_View.aspx?DocumentID=20044

dispositio to promote the need of renaming, generating

volumes, composing, subtracting, erasing, scrapping, and
correcting. This first phase of individual effort in the
production of artifacts becomes reduced drastically when
¿deciding¿ the final destiny of the works, in other words,
assessing whether or not they are finished. Although the
sculptural works in this instance present an internal
concatenation that is more or less pronounced, the rhythm of
repetition intentioning eliminates a pretension of originality
while accentuating other features. According to Maggi,
Hipo-Real represents an art that creates and builds its own
language, its idiolect, as a source that enables a perception to
name and communicate a world.
Marco Maggi has a Master of Arts degree from the State
University of New York at New Paltz, New York. He has
participated as guest artist in the Fifth Gwangju Biennial in
Korea, in 2004, in the 2003 8th Havana Biennial in Cuba, and
in 2002 in the 25th International Biennial of São Paulo, in
Brazil, curated by Alfons Hug.
His most important recent collective exhibits include New
Perspectives in Latin American Art, 1930¿2006: Selections
from a Decade of Acquisitions at the Museum of Modern Art in
New York (MOMA) 2008, and Poetics of the Handmade,
Museum of Contemporary Art (MOCA), Los Angeles, California,
2007.

2 de 2 27/09/2013 05:13 p.m.