I DON’T KNOW IT’S AN ILLUSION I DON’T CARE

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Darja Bajagic, Luis Miguel Bendana, Jennifer Chan, Phoebe Collings-James, Petra Cortright, Radames “Juni” Figueroa, Rodrigo Hernandez, Calvin Holbrook, Donna Huanca, Emily Jones, Brian Kokoska, Kubiat Nnamdie, Carlos Laszlo, Angelo Plessas, Przemek Pyszczek, Abdul Vas, Lewis Teague Wright, Elliott Wright, Jeff Zilm, Mario Zoots.

soccer ball-juni figuera

Radamés “Juni” Figueroa, Tropical Readymade (Soccer ball), Ongoing/Multiple, Soccer ball and indoors plant, Dimensions Variable

Vamiali’s gallery presents a group exhibition with the title 'I DON'T KNOW IT'S AN ILLUSION I DON'T CARE' organised by Preteen gallery (Mexico) and curated by Gerardo Contreras. According to the curator, the exhibition, is an experiment, an exercise. It's part of a continuous research for the accidental, the derailment and the absurdity concerning the altered changes of the brain. The title, the accompanying text and the exhibition are not related each other, they do not describe the one the other. The particular curatoral approach concerns all levels of the exhibition, the title, the accompanying text and the exhibition itself are autonomous "pieces" which "are connected each other", with the realisation of exhibition. The conceptual junction plays a role and becomes one from the expected results of this exercise.

Loneliness_carlos laszlo

Carlos Laszlo, Loneliness, 2012, Xerox print, 42 × 60 cm

It is in the curator's intention that the placement of the exhibition not lead to an explicit cohesive message. Instead, the exhibition in its entirety or even each artwork separately to be presented without the need of "reading". The viewing it is a clean aesthetic experience, that can also deminish the theory or the interpretation that is based in the oral/written language. The total failure is very likely, since it is almost sure that somebody can lead to a cohesive reading of the exhibition. However, the recognition of the complete weakness of communication can be found in the core of this experiment. The installation of the artworks has a direct relation with the space from an architectural point. Where the space and the place constitute an existential approach in the reading of the closed space and the particularities that make it an art space.

kexblueweb_donna huanca

Donna Huanca, SADE ON DMT (Excerpt), 2012, Crushed velvet, cotton, wool, 167 x 30 cm

In the exhibition, visitors will have the opportunity to see a series of artworks made by new artists whose practice starts from the Web. This does not mean that the work is selectively based on the aesthetics of Internet. The works are the result of individual artistic action and exceeds the significances of immateriality usually concerning the digital art. Aesthetically, the works belong to a meta-Internet space with reports in the avant-garde art of 20th century enriched with new experiences via the Internet and are not only the result of a nostalgic glance or a revisionistic intention.