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Gallery Nosco is pleased to present ‘Pinturas Móviles’ a solo exhibition by Magdalena Fernández, on view from April 20th to June 15th, 2024.
Magdalena Fernández, born in Caracas in 1964, is one of the most renowned Latin American artists living and working out of Venezuela. Her work, which combines video, installations, sculptures and prints, explores two major themes: nature and a crucial reinterpretation of abstraction. For almost 20 years, Magdalena Fernández has been using digital media to deconstruct the geometric abstraction of 20th-century masters such as Piet Mondrian and Joaquin Torres-Garcia.
With ‘Pinturas móviles’, Magdalena Fernández proposes a new video made for the Brussels solo exhibition inspired by parrots, from the serie ‘Ara Ararauna’ previously exhibited in 2009 Venice Biennale, and part of the following collections; Museum of Contemporary Art (MOCA) Pacific Design Center in Los Angeles and Muzeum Sztuki in Lodz, Poland. Ara ararauna is a Latin name of a parrot inhabiting South America and one of the most characteristic bird-emblems of Venezuela, known for their colourful plumage and recognisable sounds. The geometric fields appearing in Magdalena Fernandez video have been filled with the bird’s distinctive colours. The video, which appears to be still at first glance, vibrates in response to the sounds the parrot makes, transmitted every now and then from the loudspeakers.
She has developed a unique visual language that is rooted in the heritage of Geometric abstraction and Constructivism, yet boldly transcends these codes. Whereas most abstract-geometric creators primarily focus on the visual aspect, in Fernandez’s installations and videos, this experience unfolds in a space imbued with our presence in the physical and temporal world. Thanks to the immersive nature, contemplating or interacting with her works offers us a unique sensory experience as spectators.
Magdalena Fernández’s work has been exhibited internationally at the Venice Biennale, the Museum of Contemporary Art, Los Angeles, and the Museum of Fine Arts, Houston. Fernández’s works are represented in several major collections (private and institutional), such as the Blanton Museum of Art, The University of Texas at Austin, Texas, USA; Centre d’Art Contemporain Frank Popper, Marcigny, France; Colección Mercantil, Caracas, Venezuela; Colección Patricia Phelps de Cisneros (CPPC), Caracas, Venezuela and New York City, USA; Galería de Arte Nacional (GAN), Caracas, Venezuela; USA; Muzeum Sztuki w Łodzi (MS), Lodz, Poland; and Pérez Art Museum Miami (PAMM), Florida, USA etc..
Curated by Cyril Moumen
Magdalena Fernández - Pinturas Móviles
El centenario del surrealismo nos invita a revisar de manera no historicista la propia definición de realidad que en 1924 exigía una noción ampliada o problematizada de sus confines debido el rol protagónico de la tecnología en la vida (y la guerra) y las aspiraciones de cambio colectivas que proponían la búsqueda de un nuevo espectro político. Los miembros del grupo fundador surrealista, algunos refugiados en México y en el Cono Sur, buscaban renovar la cultura en ruinas después de la catástrofe política y económica ocasionada por la Gran Guerra europea y las terribles secuelas demográficas que dejó la gripe española, así como la aparición del fascismo. Estas condiciones parecieran resonar como sirenas de alarma en el presente. Recuperar al cadáver exquisito como idea de creación lúdica e invención surrealista resulta particularmente productiva para pensar en relación con el debate contemporáneo sobre la Inteligencia Artificial (AI). Hoy, la inteligencia artificial muestra realidades transmutadas y crea un imaginario que trastoca la idea del mundo, como lo imaginó el surrealismo, alterando los procesos y cambiando la percepción y la experiencia humanas.
