teoria

source: palaisdetokyo
Les œuvres d’Eduardo Basualdo (né en 1977, vit et travaille à Buenos Aires) nous plongent dans un monde à l’étrange familiarité, inspiré des phénomènes naturels et des forces à l’œuvre dans le monde. Très influencé par l’étude de la littérature, du théâtre et de la psychanalyse, l’artiste y met en perspective la place de l’homme, son irrémédiable soumission aux forces universelles qui lui échappent, et sa possible émancipation. Quelles sont nos ressources face aux forces mystérieuses de la vie et de la nature, sinon nos consciences et nos illusions, fragiles mais élémentaires ? « Je récupère l’idée de l’Homme au centre de l’univers comme un œil lucide capable de tout voir, mais incapable de le comprendre et de le modifier. L’Homme apparaît toujours dans mes œuvres comme victime de circonstances qui lui échappent. »

Teoría (La cabeza de Goliath) (2014), œuvre étrange et captivante rappelant une météorite, s’impose et menace le spectateur de sa masse mystérieuse et démesurée, dont on ne peut ni percer l’intériorité ni reconnaître l’origine. Il s’agit d’expérimenter le mystère de cette forme dominant nos corps et nos consciences, suscitant nos doutes et réveillant nos interrogations. Dramatique et onirique, elle nous encourage à la contemplation autant qu’à la crainte de cet inconnu qui nous surplombe, supérieur à nos existences. Cette œuvre, dont la masse n’est tenue que par une fine corde, fait référence à un équilibre fragile et pouvant être aisément brisé, souvent évoqué dans les récits mythologiques. Elle pourrait alors s’abîmer sur les hommes, irrémédiablement soumis aux lois de la gravité.
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source: catalogodasartes
Eduardo Basualdo nasceu em 1977, Buenos Aires, Argentina, onde vive e trabalha. Estuda no Instituto Universitario Nacional de Arte. Desde 2003 integra o grupo de experimentação artística Provisório/Permanente juntamente com Victoriano Alonso, Manuel Heredia, Hernán Soriano e Pedro Wainer. Participa das oficinas Programa Intercampos, Fundación Telefônica, Buenos Aires (2005); Clínica de Artes Visuales del Centro Cultural Ricardo Rojas, Buenos Aires (2006) e Levante em Rosário, Argentina. Entre suas últimas exposições, estão: Southern Exposure, Dumbo Art Center, Nova York (2008); Off/ Fóra. Movimientos imaginarios entre Galicia y el Cono Sur. 29º Bienal de Pontevedra, Pontevedra, Espanha e Centro Cultural Recoleta, Buenos Aires (2006- 2007); Azotado por el viento, Galería Isidro Miranda, Buenos Aires (2007); y Cabeza Rodante, Universidad de Antioquia, Medellín (2006), entre outras.
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source: amarello
Já comentamos que a arte não se esquiva mais de nenhum tipo de tema, nem tem vergonha de mostrar aquilo que pensamos não querer ver. No trabalho de Eduardo Basualdo, que apresentamos hoje, a arte perde seus limites na escultura, na busca por novos materiais.
O artista plástico argentino explora todas as possibilidades da escultura em seu trabalho. Basualdo caminha por materiais pouco usuais, descartáveis, construindo trabalho por vezes imensos, por vezes pequenos, mas sempre com uma acidez marcante, trazendo uma certa dúvida, um incômodo na mente do espectador.
Seu trabalho vem ganhando destaque crescente na América Latina, sendo apresentado em diversos países. Basualdo esteve presente na última Bienal do Mercosul, apresentando seus novos trabalhos, com um belo jogo de luzes. Sua produção conseguiu criar uma marca forte, em que logo se identifica o autor quando nos deparamos com a obra. O escultor argentino mantém presente o sentido de inovação das artes plásticas, sempre buscando novos desafios e plataformas para a criação.
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source: palaisdetokyo
The works of Eduardo Basualdo (b. 1977, lives and works in Buenos Aires) plunge us into a world of strange familiarity, inspired by natural phenomenon and forces at work in our environment. Greatly influenced by the study of literature, theatre and psychoanalysis, the artist puts into perspective Man’s place, his irreversible submission and his potential emancipation from universal forces that evade his control. What are our resources in the face of life and nature’s mysterious energies if not our consciousnesses and illusions that remain fragile but fundamental? “I return to the notion of man at the center of the universe like a lucid eye, capable of seeing everything but incapable of understanding or changing anything. In my work, man always appears as a victim of overwhelming circumstances”
The surprising and compelling work Teoría (La cabeza de Goliath) (2014) that recalls the shape of a meteorite, dominates and threatens the viewer with its mysterious and disproportionate mass whose interiority and origin remain unreachable and unrecognizable. The idea is to experience the mystery of this form that dominates our bodies and minds, eliciting doubt and arousing questions. Dramatic and oneiric, Teoría encourages both contemplation and fear towards the unknown towering over us, superior to our existences. Hanging only by a fine rope, the work evokes a fragile balance that can be easily broken, often referred to in mythological narratives. It could thus fall down on mankind according to the irreversible laws of gravity.
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source: art-agenda
Basualdo’s presentation focuses on the notion of limits, their nature and permeability, featuring a series of new works comprising sculptures, drawings, and a site-specific installation.

By means of an overall suspicion towards reality, Basualdo questions the relations between what is perceived by the mind and what is sensed through the body. The pieces presented in Venice use the senses to diffuse the boundaries of the material world.

Since his early works, Basualdo uses simple methods to create disturbing interventions in space. His objects, which are often in motion, play with our perception. Mysteriously poetic, they tell stories of gaps and transitions (One Way, 2009; Razón o Fuerza, 2010). Far from being abstract, they foster associations, narrative trails, mystery, and imagination. Even his static works have frequently the resonances of an event (Sky, 2011; Nervio, 2013).

In much of Basualdo’s work, scale plays a significant role as a strategy to confront the viewer with his or her own physical presence. Reflecting on the reaction of the body to architectural restrictions, he has worked on large-scale sculptural installations. La Isla, 2006–14, El Silencio de las Sirenas, 2011 and The End of Ending, 2012 plunge us into a world of strange familiarity, inspired by natural phenomenon and forces from our environment. Basualdo puts into perspective the notion of man at the centre of the universe like a lucid eye, capable of seeing everything but incapable of understanding or changing anything, as a victim of overwhelming circumstances.

His recent works explore further into the notion of limits, retracing relations with the body and architecture from his previous investigations and looking into the new connections it draws with language (Testigo, 2013; Promesa, 2014).
Eduardo Basualdo was born in 1977, in Buenos Aires, Argentina, where he lives and works. Recent solo shows include La Isla at the Gwangju Biennale in South Korea (2014), El Silencio de las Sirenas at the Lyon Biennale (2011), The Traveling Show, Fundación Jumex, México DF (2010), his solo exhibition at the Rochechouart Museum of Contemporary Art, France (2013) and Galeria Luisa Strina, Brazil (2013). Recent group shows include Teoría (Goliath’s Head) at the Palais de Tokyo commissioned by SAM Art Projects (2014), La Biennale de Montevideo, Uruquay (2012); Art Parcours, Art Basel 43, Switzerland (2012). Public collections holding his work include Musée d Art Contemporain de Rochechouart, France; Tiroche de Leon Collection, Israel; Musée d’Art Contemporain de Lyon, France; Musée des beaux-arts de Montréal, Canada; and Juan and Patricia Vergez, Buenos Aires.