Emptiness expansion is the individual show of Azul Caverna. The text that accompanied the exhibition was in charge of Florencia Qualina.

The huge painting has a disturbing name, something blasphemous: Chicken or Nietszche?. On the white background of the canvas three stripes are distributed composed of small rectangles that cross the surface diagonally. Two stripes are relatively short, their rectangles are yellow and pink; the other strip, more extensive, is composed of black figures. The repetition turns them into a system, they are no longer geometric structures and they begin to be characters. The characters move between the paintings like a swarm of bees. At first sight it is more evident to establish relations between the work of Azul Caverna with Concrete Art, than with the man of philosophy with hammers. Concrete Art is, for A.C, a primary source. You only need look at the works of Lidy Prati or Tomás Maldonado to see in him, a certain continuation in the iconographic plane. Other perceptions, relationships or readings, are somewhat more elusive and require the persistent attention of whoever meets them.

The images of Azul Caverna have, at some point, an unstable bias. In the serial characters, repeated without stop, you can read zebra’s steps, bar codes suspended in the desert. The conceptual axis of this exhibition is the emptiness. Said in his words: “The emptiness as a cold still mass, this eternal bubble seems to contain us and distance us enough from each other, as if protecting us from something, or better, as if protecting others from ourselves.” In a cryptic way, the rectangles transpose for A.C a herd that circulates between virtual networks. A swarm report led by common sense and publicity.

These ideas and impressions are not, however, the closing of the works. There will be, from this exhibition other multiple, contradictory, never misguided ideas and impressions around, about the works. The emptiness can be read as a Taoist emanation:

The space between heaven and earth is like a bellows, exhales empty endlessly.

The more you move, the more you exhale.

More is talked about him

and less is reached.

Or as a space arranged for contemplation, where there is nothing to understand or explain. This last possibility is the one I strongly suggest.

A circle, a game brings together a selection of paintings, papers and acrylic sculptures by the consecrated and prolific argentinean artist Rogelio Polesello.

Polesello takes place into the world of geometric art at an early age, as early as 1959 he had made his first individual exhibition at the Peuser gallery. Then he is part of the legendary generation of artists who passed through the mythical Di Tella Institute in Buenos Aires in the sixties and who, being young, had already achieved great international recognition.

The set of exhibited works, dating from the sixties to the last years of production, show his authentic journey within geometric and optical abstract art in Argentina. Crossed by the games of vision, Polesello, defies the gaze with the deformation and succession of synthetic forms.

A circle, a game, reveals Polesello’s innate ability to use unpublished materials and techniques, evident in the works present at the exhibition. Among them: acrylic plates from 1969 – 1971, a set of works on paper from 1959; and paintings of the sixties and seventies.

The show puts the viewer in the center of the board to continue with the game and put in check his perception of reality.