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Paris

Galerie Daniel Templon

Exhibition Detail
Where is the Next War?
30, rue Beaubourg
Paris 75003


April 25th, 2013 - June 1st, 2013
Opening: 
April 25th, 2013 5:00 PM - 8:30 PM
 
Enterrar y Callar (Bury Them and Keep Quiet), Ivan NavarroIvan Navarro,
Enterrar y Callar (Bury Them and Keep Quiet),
2012, 43 1/4 x 43 1/4 x 9 7/8 in.
© Courtesy of the artist and Galerie Daniel Templon
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> DESCRIPTION

L’artiste conceptuel chilien Iván Navarro revient à Paris avec un nouveau projet et présente un ensemble inédit de sculptures en trompe-l’œil à la Galerie Templon.

Iván Navarro utilise la lumière comme matériau de base, détournant des objets en sculptures électriques et transformant l’espace par des jeux d’optique. Son travail s’approprie les icônes du modernisme en dénonçant le risque d’un formalisme vidé de tout engagement. Toujours présent en filigrane, le détournement de l’esthétique minimaliste devient le prétexte d’une subtile critique politique et sociale. Né en 1972 à Santiago, Iván Navarro a grandi sous la dictature de Pinochet. Il est installé depuis 1997 aux Etats-Unis. Au-delà de son aspect ludique, son œuvre reste hantée par les questions de pouvoir, de contrôle et d’emprisonnement physique ou psychologique.

Avec “Where is the Next War”, Iván Navarro s’intéresse à l’artiste allemand Josef Albers, précurseur de l’art optique. Ce grand expérimentateur de la couleur et de l’abstraction, professeur au Bauhaus, fuit le nazisme et trouva refuge aux Etats-Unis où il enseigna au fameux Black Mountain College.

Les fenêtres-tableaux lumineux d’Iván Navarro, échos aux Homage to the Square d’Albers, soumettent les carrés démultipliés à l’infini à un clignotement programmatique implacable. Empruntés à Goya, des mots se détachent sur chacune des compositions : Amarga presencia (Présence amère), No llegan a tiempo (Ils n’arrivent pas à temps) Le langage est une apparition lumineuse de la conscience, qui renvoie aux double sens, à la mémoire douloureuse des décalages entre apparence et vérité.   

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Chilean conceptual artist Iván Navarro is returning to Paris with a new project. A new series of the artist’s trompe-l’œil sculptures will be on show at Galerie Templon.

Iván Navarro uses light as his raw material, turning objects into electric sculptures and transforming the exhibition space by means of visual interplay. His work appropriates the icons of modernism as it deplores the risk of formalism that has been emptied of all forms of engagement. The act of usurping the minimalist aesthetic is an ever-present undercurrent, becoming the pretext for understated political and social criticism. Born in 1972 in Santiago, Iván Navarro grew up under the Pinochet dictatorship. He has been living in the USA since 1997. His work is certainly playful, but is also haunted by questions of power, control and imprisonment, both physical and psychological.

While the Grand Palais in Paris is devoting a major exhibition to the notions of space and vision in art, Iván Navarro is taking a close interest in German artist and the Op Art pioneer Josef Albers. Famed for his experiments with colour and abstraction and a professor at Bauhaus, he fled Nazi Germany and found refuge in the USA, where he taught at the celebrated Black Mountain College.

Iván Navarro uses the title Enterrar y Callar (Bury Them and Keep Quiet) to set Josef Albers’ experience of staying silent on the subject of his exile and its context against the figure of Francisco de Goya, the first politically engaged artist, one of whose prints in The Disasters of War series gave the work its name.

Iván Navarro’s window-like light sculptures echo Albers’ Homage to the Square, subjecting the infinitely multiplied squares to an implacably programmed blinking. Various words emerge from each of the compositions: Amarga presencia (Bitter presence), No llegan a tiempo (They don’t arrive on time)… Language is the light-filled appearance of conscience, evoking a dual meaning, the sorrowful memory of the chasm between appearance and truth. Alongside this new series, the gallery is showing a work that uses the same minimal shapes to conjure up New York’s twin towers. The reflected neon lights recreate the height of the skyscrapers, taking them deep into the ground in “an anti-monument to the economic power of the USA, weighed down by its own social trauma,” as the artist explains.

                                                              

Iván Navarro represented Chile at the 53rd Venice Biennale in 2009. His work has been shown worldwide, including at the Whitney Museum of American Art at Altria, New York (2006), Centro Cultural Museo del Barrio, New York (2007), MOCA, Miami (2007), La Caja de Burgos (2010), La Maison Rouge, Paris (Néons exhibition), La Fondazione Volume! in Rome and Miami’s Frost Art Museum in 2012. He is currently one of the featured artists at the Light Show exhibition running at London’s Hayward Gallery until April 28, 2013.

His work is included in a wide range of international collections, such as the Saatchi Collection (London), Martin Z. Margulies Collection (Miami), Hirshorn Museum (Washington DC), Virginia Museum of Fine Arts (Richmond), Fonds National d’Art Contemporain and Fondation Louis Vuitton pour la création (Paris).


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