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Paraíso

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20110626003518-il_paraiso
Químico All-Star (Talisman for Protection and Luck), 2010 Baseballs, Cotton Thread, Cowrie Shells, Hypodermic Needles, Human Growth Hormone, Glass Test Tubes, Tobacco, Dirt, Silver, Gold, Marble, Cement, Macaw Feathers, Prescription Bottles, Rubber, Vitamin Supplements, Hair, Teeth, Glass Eyes, Baseball Cap, Con © Courtesy of the Artist and ltd los angeles
Paraíso

1119 La Brea Ave.
90019 Los Angeles
CA
US
July 1st, 2011 - August 13th, 2011
Opening: July 1st, 2011 7:00 PM - 9:00 PM

QUICK FACTS
WEBSITE:  
http://www.ltdlosangeles.com
NEIGHBORHOOD:  
hollywood
EMAIL:  
ltd@ltdlosangeles.com
PHONE:  
323.378.6842
OPEN HOURS:  
Tue-Sat 11-5
TAGS:  
sculpture

DESCRIPTION

Co-organized with Roberto Paradise 

ltd los angeles is pleased to present PARAÍSO, a group exhibition co-organized with Roberto Paradise opening on Friday, July 1st, from 7 until 9 pm. 


PARAÍSO  is based on the idea that paradise is not a geographical place but rather represents a cultural memory as Alan Millard hypothesized and inspired by the baroque usage of stunning constellations of unlikely images in José Lezama Limaʼs Paradiso. While all of these artists are from Puerto Rico, their practices are reflective of these concepts, thus PARAÍSO.

Charles Juhasz-Alvaradoʼs intentions and investigations are manifested through the actions of constructing with materials as varied as wood, words and sound. His conceptual based practice embraces craft. Masterfully built with teak wood, Del brazo a la garganta (mimus plyglottos) is a delicate study of scale via the form of a construction excavator. This workʼs title references the underlying philosophy of Bruce Naumanʼs iconic From Hand to Mouth,
“that what is not there is just as important to what is”.

The diversity of Ignacio Langʼs work is vast, often building on a practice based on accumulative indices and grounded by his investigations into identity constructions, the everyday, and inherent aspects of human nature. Langʼs Quimico All-Star is a talisman composed of a baroque index of materials paying homage to the evolution of Americaʼs national pastime, baseball, to a shared global experience of spirituality to commercialization.

In his performance documentary film, La Promesa, Jesús “Bubu” Negrón takes his motherʼs wheelchair on a pilgrimage of alcohol and art from Benito Juarez airport to Ex-Teresa, an exhibition venue housed in the chapel of a former colonial convent. The stations of his via crucis were all of the bars between the airport and the contemporary art museum at which Negrón would stop for several drinks. La Promesa explores endurance, the relationship between art and life, and a very particular perception of the dynamics of an art world that has forgotten what “labor intensive” is all about.

Michael D. Linares investigates possibilities, potential chaos, future development and entropy. Wait till it grows, a life sized hammock loosely hung on coconut palm sprouts, simultaneously challenges patience and triggers imagination. Untitled, a 7 foot tall helium balloon, awkwardly invades the gallery space. While inflated, looming over the entrance then morphing into deflation and eventually collapsing onto the floor.

Radamés “Juni” Figueroaʼs practice is primarily influenced by his international travel experiences interwoven with his home life in Puerto Rico. Using street style and self reference, the artist poses half naked as Manetʼs Olympia amidst a background of freshly sliced papayas in I Love Papaya, My Treasure. In Stabbed Spray Cans the artistʼs viscerally thrusts a knife on several unused cans of spray paint hence covering the walls with the resulting chaotic splatter.