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Tra(n)smundo

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20180903231636-20180510_211625
Untitled (AM 009) by Abdul Mazid, 2018 Oil On Linen 20 X 16 Inches © Courtesy of the artist
Tra(n)smundo
Curated by: Ichiro Irie

11851 La Grange Ave.
90025 Los Angeles
CA

September 29th, 2018 - October 28th, 2018
Opening: September 29th, 2018 6:30 PM - 8:30 PM

QUICK FACTS
WEBSITE:  
http://www.jausart.com
EMAIL:  
info@jausart.com
PHONE:  
424.248.0781
OPEN HOURS:  
Saturdays noon to 4pm during exhibitions
COST:  
Free

DESCRIPTION

JAUS is pleased present the group exhibition Tra(n)smundo uniting works by three Mexican artists, Marcela Aliseda, Anibal Catalan and Fabiola Menchelli, and three local artists, Abdul Mazid, Anaeis Ohanian, and Luciano Perna. This projects showcases a divergent collection of works that explore hidden worlds (trasmundos) and other worlds (transmundos) through painting, sculpture, photography and collage.

Although these artists’ works vary significantly in terms of media, process and philosophy Catalan, Menchelli and Perna, nevertheless, all seem to make strong reference to Russian Constructivism. Catalan deconstructs and contorts the language of artists like El Lissitzky, Malevich and Tatlin to make his own brand of sculpture and painting that appear to reach for some dynamic utopian/dystopian future while embracing and twisting and modernist past. Menchelli, on the other hand, creates hallucinatory states with her photographs of abstract constructs by manipulating light and color within the camera. Perna truncates and reconfigures old images of the Sputnik satellite, and in so doing, draws parallels between the Constructivist ideals of modernity and the Soviet drive toward extraterrestrial conquest.

Works by Aliseda and Ohanian seem to relate more with surrealist traditions of tapping into the unknown. They present landscapes of the mind using, in Aliseda’s case, collage, and in Ohanian’s, mixed media sculpture. Using cut-out’s from science and history books and magazines, Alseda considers her works a hybrid that blurs the lines between journal and fiction. Ohanian, in her work, envisions a post-apocalyptic future where, among other things, calcified totemic stalagmites of women’s underwear become objects of transcendence and worship.

Mazid’s recent relief-like paintings on raw linen mimic what appears to be either fireworks, an explosion, a rocket blasting off into space, or some divine near-death experience which he intentionally leaves ambiguous so the viewer can appreciate the delicately textured surfaces without having the images being confined to a fixed signification.

As a whole, the Tra(n)smundo exhibition will hopefully transport the viewer, at least for a moment, to a place slightly beyond their quotidian reality.

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