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Lucidus Disorder: Diego Barboza, Artur Barrio, Sérgio de Camargo, Eugenio Espinoza, Magdalena Fernández, Gego, Jac Leirner, Hélio Oiticica, Federico Ovalles, Mano Penalva, Wilfredo Prieto, Luís Salazar and Antonieta Sosa, Curated by Rolando J. Carmona

Past exhibition
21 September - 10 November 2024 Mallorca
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  • Lucidus Disorder

    Curated by Rolando J. Carmona

    September 21 – November 10 2024

  • On the occasion of Palma’s La Nit de l’Art 2024, Baró Galeria presents ‘Lucidus Disorder,’ a group exhibition featuring paintings, sculptures and installation works by prominent Latin American artists from the latter half of the 20th century to the present day, including Diego Barboza, Artur Barrio, Sérgio de Camargo, Eugenio Espinoza, Magdalena Fernández, Gego, Jac Leirner, Hélio Oiticica, Federico Ovalles, Mano Penalva, Wilfredo Prieto, Luís Salazar and Antonieta Sosa.

     

    ‘Lucidus Disorder’ delves into the creations of Latin American artists whose intimate and organic works subvert the rigid structures of European modernism. Emerging from the shadows of modernity, these artworks offer a counter-narrative to the dominant themes of progress, rationality, and technology prevalent in Western art of the 1950s. With a strong focus on the tropical landscape and motifs of deconstruction, the exhibition showcases open-ended works characterized by blurred boundaries and evocative imagery, suggesting that no form is ever final, but rather in a constant state of transformation.

     

    Exhibition made with the support of the Consell de Mallorca.

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  • Curatorial text

     

    On September 7, 1969, Venezuelan artist Antonieta Sosa destroyed her interactive work Plataforma II in Plaza Morelos, Caracas, freezing the gaze of macho onlookers who could not comprehend why this beautiful and delicate woman was doing such a thing. Destroying these “gems of geometric abstraction” was her way of shouting “NO” to the international art world and the Venezuelan government, who were complicit with Brazil’s military dictatorship by sending kinetic works to the São Paulo Biennial, while Castelo Branco’s henchmen were torturing artists and burning dissident works under the Carioca dictatorship. A year later, during the bloodiest period of the dictatorship, Brazilian artist Artur Barrio threw bloodied bundles resembling human corpses from the windows of a museum and wrote the manifesto Estética del Tercer Mundo (Third World Aesthetics) in 1969. He proposed a new poetics based on the use of perishable and cheap materials like garbage and bones, creating works as sarcastic and painful in the face of power as his Livro de Carne (Book of Flesh, 1978), where living, blood-soaked squares hinted at the possibility of another delirious and disruptive poetics.

  • Meanwhile, Hélio Oiticica, with his Tropicália, and Diego Barboza, with experiences like the “Caja del Cachicamo,” transformed the pictorial plane into a favela festival, disrupting the canon of art through the Dionysian experience of popular culture. Unafraid of night or delirium, they forged experiences as disruptive as Oiticica’s Cosmococa series, where drugs became geometric drawings that heralded contemporary concepts like post-photography.

  • These artists announced a new model of tropical-stamped disobedience, grounded in the logic of chaos. Far from being reactionary, these symbolic and physical gestures operating through deconstruction formed an almost stereo dynamic between Venezuelan and Brazilian artists, who left behind concrete art in Brazil and kinetic art in Venezuela. They configured a political response to the Cartesian and Eurocentric reason that defined official aesthetics, creating works that transcended the grid in crisis and smiled at everyday life.

  • This exhibition presents a new canon of sophistication, where precarious poetics, the power of the tropical landscape, time, and a certain formal awkwardness break the old canon and the “craft” of high culture. The selection brings together key artists who mark the transition from modern to contemporary art in Latin America, in dialogue with mid-career creators who also reflect on reason, tropicality, and process. Eugenio Espinoza distorts the grid with the weight of coconuts; Magdalena Fernández and her macaws tropicalize Mondrian; Jac Leirner, in Corpus Delicti (1992) like Os Cem, creates precarious sculptures with ashtrays stolen from airplanes; Antonieta Sosa draws the path of ants in her kitchen for years, and even Gego, with her intimate and telluric scribbles, reimagines kinetic art as a feminine fabric rather than a technological project of the future. These are all works that eclipse or tropicalize the grid, creating precarious incisions and organic disruptions that find their order in deconstruction and the systematization of apparent chaos, often using ruins as a starting point to announce reinvention.

  • Like a serpent biting its tail, the popular culture of today reclaims the most disruptive figures of the 60s and 70s, generating a satire of the canon and the aesthetic insulation they themselves had built.

  • Artworks
    • Gego Untitled - Dos Planos, 1965 Signed 'Gego' and dated '1965' at the base Painted and raw copper and stainless steel wire construction on a wooden base 29.5 x 18 x 17 cm
      Gego
      Untitled - Dos Planos, 1965
      Signed 'Gego' and dated '1965' at the base
      Painted and raw copper and stainless steel wire construction on a wooden base
      29.5 x 18 x 17 cm
    • Sérgio Camargo Untitled (Polyhedral volume - First table piece), 1963 Painted wood 19.1 x 16.5 x 13.5 cm
      Sérgio Camargo
      Untitled (Polyhedral volume - First table piece), 1963
      Painted wood
      19.1 x 16.5 x 13.5 cm
    • Jac Leirner Corpus Delicti, 1992 - 2006 Chain, plane ashtrays, cutlery, documents Variable Dimensions
      Jac Leirner
      Corpus Delicti, 1992 - 2006
      Chain, plane ashtrays, cutlery, documents
      Variable Dimensions
    • Hélio Oiticica cc3/32, 1973 Print on aluminum 114 x 76 cm
      Hélio Oiticica
      cc3/32, 1973
      Print on aluminum
      114 x 76 cm
    • Artur Barrio O sonho do arqueólogo, 2002-2006-2022 Signed and dated on the front Mixed media 160 x 140 cm
      Artur Barrio
      O sonho do arqueólogo, 2002-2006-2022
      Signed and dated on the front
      Mixed media
      160 x 140 cm
    • Artur Barrio Marselha Knife, cloth, bar of soap 85 x 30 x 10 cm
      Artur Barrio
      Marselha
      Knife, cloth, bar of soap
      85 x 30 x 10 cm
    • Artur Barrio Livro de Carne, 1978 - 1979 Photographs 30 x 45 (each)
      Artur Barrio
      Livro de Carne, 1978 - 1979
      Photographs
      30 x 45 (each)
    • Eugenio Espinoza 15 Cocos, 2024 Acrylic on canvas, dried coconuts, rope 150 x 150 cm
      Eugenio Espinoza
      15 Cocos, 2024
      Acrylic on canvas, dried coconuts, rope
      150 x 150 cm
    • Eugenio Espinoza I do not see it, 2021 Signed and dated 2021 verso Acrylic on canvas, on drop cloth, staples, wood 31 x 43 cm
      Eugenio Espinoza
      I do not see it, 2021
      Signed and dated 2021 verso
      Acrylic on canvas, on drop cloth, staples, wood
      31 x 43 cm
    • Eugenio Espinoza Grid, 2021 Signed and dated 2021 verso Acrylic on drop cloth, wood, wire 30 x 48 cm
      Eugenio Espinoza
      Grid, 2021
      Signed and dated 2021 verso
      Acrylic on drop cloth, wood, wire
      30 x 48 cm
    • Luis Salazar Untitled, 2024 Mixed media Variable dimensions
      Luis Salazar
      Untitled, 2024
      Mixed media
      Variable dimensions
    • Magdalena Fernández 1pm006 ‘Ara Araurana’, 2006 Video 1 minute 55 seconds
      Magdalena Fernández
      1pm006 ‘Ara Araurana’, 2006
      Video
      1 minute 55 seconds
    • Mano Penalva Untitled, 2019 Raffia bags and seals 190 x 105 cm
      Mano Penalva
      Untitled, 2019
      Raffia bags and seals
      190 x 105 cm
    • Mano Penalva Untitled, 2018 Raffia bags and seals 100 x 110 cm
      Mano Penalva
      Untitled, 2018
      Raffia bags and seals
      100 x 110 cm
    • Diego Barboza La caja del cachicamo, 1976 Photographs Variable dimensions
      Diego Barboza
      La caja del cachicamo, 1976
      Photographs
      Variable dimensions
    • Federico Ovalles Untitled, 2024 Signed and dated 2024 verso Mixed media 53 x 74 cm
      Federico Ovalles
      Untitled, 2024
      Signed and dated 2024 verso
      Mixed media
      53 x 74 cm
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