In Tove Storch’s objects, the tangible translation of a state of potentiality, where the discernible simplicity of materials and forms is employed to wedge and balance the inherent force of physical matter.

“This project consists of wooden panels that form a structure attached to the wall. The geometric designs are made with oil-based paint, which is inspired by the bodies of the popular trucks of Guatemala and Central America. This type of design is commonly found in trucks that transport fruits, vegetables, textiles, and other types of cargo from the distant Guatemalan provinces to the capital, where almost the main businesses that support the economy of most of the Guatemalans, are done.

These works of art are the result of using the same technique the same chromatic, formal and structural aspects that the carpentry workshops use to decorate and manufacture these panels, which make up bodies for commercial trucks. The main idea of this project is fundamentally to investigate the idea of an abstract criterion, or rather, of a geometric consciousness in a country like Guatemala, which is still waiting for modernity as a promise of wellbeing and progress.

It is interesting to see how in a good part of the territory that makes up Latin America, the idea of a geometric art develops very effectively. It will be necessary to think, among many things, the Pre-Hispanic background, the fusion of two forms of thought, and the idea of interpreting the reality of a purer vector such as color.

These bodies of trucks become true geometric reliefs where the chromatic, formal and structural aspects are mixed to make us think if this modern promise is yet to come, or if the joyful modernity that we hope so much has already arrived and we never realized, at least through its pure and balanced structures of color and shape.”

– Darío Escobar

Dario Escobar talks about his artistry and the work series 'Modular Construction' & 'Encrypted Messages'

Darío Escobar
Mensajes Cifrados No. 04, 2020
Metal, gold and pigments
70 x 59 x 39 cm (27,56 x 23,23 x 15,35 in)

USD 28.000,- + VAT
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"The work that I have been doing throughout these years has been in constant dialogue with the Universal History of Art. When I was beginning, at the end of the 1990s, I was interested in the relationships between "consumption" and "History." I made a series of works in which I used Baroque techniques, such as gold foil, easel painting, and embossed silver to cover everyday objects such as skateboards, stationary bicycles, and basketball hoops, among others. Mass-produced products that came from China, and which were distributed by the so-called "informal trade" of the urban markets in downtown Guatemala City. The intention was to propose, with the contrast of these products and the old Baroque techniques, the idea of perpetuating a colonizing process. With the difference that, this time, colonization took place at a distance. A process in which the transnationals fulfilled the role of the colonial "comendador" (commander) during the final decade of the 20th century.

There are several photographic strategies present in the exhibition; Torbjørn Rødland’s stages photographs that demand viewer participation, simultaneously inhabiting and defamiliarizing everyday life, his pictures keep you in the process of looking. He probes popular visual languages in search of both spiritual and perverse qualities, so as to prolong our engagement with the single and the moving image. The uncanny photographs are saturated with symbolism, lyricism, and eroticism showing attempts to seize and to integrate truth, rather than to deconstruct it, accompanied by the inclination to delve into problematic aspects of contemporary photography and the history of art.

Rødland’s touring solo exhibition Fifth Honeymoon which was first presented at Bergen Kunsthall in 2018 has recently toured during the last year to both the Museum of Contemporary Art Kiasma (Finland) and Bonniers Konsthall (Sweden) after its originating presentation at Bergen Kunsthall (Norway). He is now planning an upcoming solo exhibition with The Contemporary Austin (USA) to open early 2021.

Torbjørn Rødland
Second Orienting Reflex, 2019
Chromogenic print, Kodak Endura paper
50 x 40 cm (22,44 x 17,72 in)
Edition #3/3, 1AP

USD 14.000,- + VAT
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In the works-series by SUPERFLEX photographic triptych is used as a way to address a similar narrative around the challenged co- existence of humans and nature. Devoid of human presence it appears as a memory of a time in the early history of our planet, or a glimpse into a future era beyond us.