Open key: A dialogue with Fred Drouin

With: Juan Pablo Torres Muñiz

  

Components. And a whole that goes beyond. The final image takes shape thanks to a process that goes behind the hours, as well as the distance that separates us. Happily, Fred’s voice is strong and clear.
Within each picture, we say, materials and references come in, with the light or, rather, the lights of the one who proposes the vision.
 
 

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Inside, Into the Night: On Alessandro Sicioldr Bianchi’s Proposal

By: Leyla Justo
 
… In fact, I was thinking: if I entered a room with only these paintings hung around in the walls, I’d feel being observed, judged. As if I couldn’t get out from there. This is a first impression.
As if something, someone wanted to imprison me. With him or her…
Anyway, we find here two kinds of gazes. These which plunge on you; and those that go from one character to the other: the one who looks at you…
These are the works of Alessandro Sicioldr Bianchi…
 

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Time in tatters: A dialogue with Tatiana Rivero Sanz

With: Juan Pablo Torres Muñiz 

 

 


To follow the pulse of time. It is a way of saying. It mirrors ultimately a manner of understanding the issue of experience. In the end, it’s imposible to conceive memory as a ball of yarn, its images in a skein. Past and present live together. They work this way. In a single image, sometimes, is concentrated the possibility of something else. We do glimpse, so they say. It´s accepted too, more often than not, that the linear framework is valid when talking about evolving. Better to shake the case of our arguments, to contemplate the resulting sign, irrational motives already established.
Tatiana is moving rough the living room. Between her paintings questions surge.
 
I keep an image, always there… I descend to a basement; I open the door, and all is down there…
 
 

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Into where we lose sight: A dialogue with Isaac Pelepko

With: Juan Pablo Torres Muñiz
 
Lost sights, we say. We can begin with them, but Isaac Pelepko propounds from this point, among others, a spectrum of possibilities, a special wide one.
Maybe, the key is hidden among the silence’s tension of each scene: where the characters’ attention reposes is a moment, not a place.
A region that is, nonetheless, transparent.
The purpose is huge because in the middle of drama (interspersed with humor) he confronts us to the ultimate share of lucidity common to all. And, paradoxically, it provokes to trace an arch wide enough to embrace the question. As if that were possible.
 
 

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Like salt, and its shadows: A dialogue with Red Tweny

With: Lena Marin

  

The line, the stroke point to the pulse, but sometimes they speak for it. Tension, in these cases, is present throughout the finished work (which becomes a portal), recreates the process of its inception in reverse and reveals a purpose. A course.
If we remember that not all purpose implies necessarily knowledge, but always the urge to provoke a reaction, to confront and, in the best of cases, to question, then we can make ourselves an idea about how to open our senses to this wordless message.
With Red Tweny we have the opportunity to talk about this peculiar form of eloquence.
 
 
 

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Instants – fire: Dialogue with Florence Rivières

With: Juan Pablo Torres Muñiz

To recognize, in different images, a variety of persons, of masks; – congruent temperaments.
The pretence is manifest. A charm by which a longer lapse of time fits into a capture – in which she herself, Florence, shapes – the scene. Seducing – a story. One that boils from the pair of eyes, the mouth, the gesture.
In this way, the interest in talking to her resides in the intensity by which she, in bringing forth the situations and therefore the possible questions therein, determines the character not only of her participation, but of the whole project.
It lures and provokes to ask: It’s all about posing…?
 

 

With Charlie Foster

 

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