MCMC Gallery is pleased to announce the exhibition Norberto Gómez: 1967 – 2016, curated by Florencia Chernajovsky. Norberto Gómez (1941) studied at “Manuel Belgrano” School of Fine Arts in 1954 and attended the workshops of Castagnino and Berni. In 1965 he traveled to Paris, where he worked with Julio Le Parc. A year later he returned to Buenos Aires and began a series of geometric objects that explored the relationship of forms with space, ascribing to the gui­delines of American minimalism. In 1976 he develops a body of works that oscillate between the geometric and melted objects, using wood and metallic paint.

By 1977, he moved away completely from geometry and began to explore the possibilities and limits of polyester. These sculptures in resin, which take the form of viscera and human organs, are strongly traversed by the atrocities that occurred during the military dictatorship in Buenos Aires y the 70s. In 1984 begins a series of polyester works that address issues around power and oppression; in 1990 he exhibited at Ruth Benzacar gallery, mutilated human figures, mixed with animals and architectural fragments, with a parody tone and full of humor. In 1995 the Museum of Modern Art of Buenos Aires made a retrospective of his work and in 1999 he was invited to be part of the Memory Park in Buenos Aires, where he presented the monumental sculpture Torres de la Memoria. In the first decade of 2000 he works on a series of bronzes that question the his­tory and the monument with great irony; in 2002 he received the Konex Prize. In 2011, the Osde Foundation made a retrospective exhibition of his works and in 2016 the National Museum of Fine Arts made an individual exhibition with geometric works made between 2014 and 2016.

Norberto Gómez: 1967-2016 explores different facets of the work of an intrinsically versatile ar­tist. A main figure in the history of Argentine art, Gómez slid through various movements and languages over the course of half a century, finding small interstices of full and sovereign free­dom of expression. The exhibition shows works that are linked to the Minimalist movement of the 60s, as well as the Pop art influence in his soft geometries.

The exhibition also includes works made in the 70s that refer to the Argentine political context, as well as the bronze pieces made in the 2000s that show the artist’s disruptive humor. These pieces will coexist with unpublished drawings of the 70s that express his skill as a lyricist, a pro­fession that Norberto Gómez exercises for more than twenty years, which allows him to develop an acute sensitivity of space, distances and forms.

Contrast and leaks brings together a selection of paper works by argentine artist César Paternosto. The works show the continuous need of the artist to evolve towards new plastic solutions, without losing the singular and reductivist sense of the structure and taking into account the pictorical sensual dimension, that characterizes his work so much.

This exhibition is close, as few, to the visual poetics through a set of constructions and geome­tric deconstructions created recently in acrylic on folded paper, which silently account for the careful manipulation of the material and the mastery in the austere use of color, of long tradi­tion in the works of the artist. They are refined and very simple compositions, with an unusual coherence. The exhibition is completed with small and colorful historical paper works, dated from the mid-sixties.

The works also remind us of the atonal musical compositions, a discipline closely related to Paternosto’s artistic production, in which the silences between some notes and others burst at different times in the phrases of the scores. In this way, they continue to question the habit of frontality in traditional reading in favor of an integral mode of observation.

We are in front of a sophisticated work that tells a story rooted in the history of our continent, since from an early age, Paternosto joined a stream of aesthetic research that, from Joaquín Torres-García’s geometry, unified the concepts of Avant-garde Art and Indoamerican tradition uniting, therefore, modernity and roots, as well as future and identity. This has been one of the central themes in his work.

The Abstraction as meaning has been the axis of Paternosto’s work, which implies, as the artist himself has said and written, a great stubbornness on his part. The ongoing effort of the autor to achieve the core of his expectations has taken him to divest himself of everything that did not bear a close relation to his intense search for meaning. In his works there is a slight sense of austerity that predispose us to question our perception of the artistic fact, highlighting in turn, the sophistication and genuine vocation of the artist.

Dematerialization / applause to the substance it’s Eduardo Costa’s solo exhibition, curated by Diego Bianchi that exhibited a series of volumetric paintings that show the inexhaustible validity and creativity of one of the most talented and representative conceptual artists.

Costa (1940, Buenos Aires) is an Argentine artist who lived twenty-five years in the United States and four in Brazil. He began his career in Buenos Aires as part of the Torcuato Di Tella Institute generation and continued working in New York, where he made a strong contribution to the lo­cal avant-garde. He has collaborated with american artists such as: Vito Acconci, Scott Burton, John Perreault and Hannah Weiner, among others. In Brazil, he participated in projects organi­zed by Hélio Oiticica, Lygia Pape, Antonio Manuel, Lygia Clark among others artists from the School of Río de Janeiro.

Costa imposes his presence with the powerful conceptual production that carried out up to the present. A new art emerged from the possibilities offered by the pictorial filling. The painting in solid state agrees in his hands to adopt forms an unusual relief. Parodying still- life and geome­tric figures representations.

Volumetric paintings arose by exploring the limits of matter with an experimental zeal. “Twenty years ago I wanted to rescue the painting of the structural boredom it was in and I thought about Lucio Fontana and the Madí who renewed the pictorial world by force of depth and meaning”. Costa then hit the paint introducing a new twist. He discovered that he could stop representing vases and instead acquire the real volume of things.

His work has been discussed in art in America, Art Forum and in the main conceptual art books: Alberro A., MIT, 1999; P. Osborne, Phaedon, 2002; Mari Carmen Ramírez and Héctor Olea, Yale / Houston Art Museum, 2004; Agnes. Katzenstein, MoMA, New York, 2004, Luis Pérez-Oramas and others, San Antonio Art Museum, 2004; Luis Camnitzer, University of Texas, 2007, among others. His work has been exhibited at the New Museum, New York; Victoria and Albert Museum, London; Reina Sofía Museum, Madrid; Queens Museum of Art, Queens, New York; Art Center List, Bos­ton; Miami Art Museum, Walker Art Center, Minnesota, MOMA, Buenos Aires; National Museum of Fine Arts, Buenos Aires, among others. Participates in a project that consists of making Du­champ / Costa 30 bicycles inspired by a 1980 model, for an exhibition on the work of Duchamp curated by Jessica Morgan (Tate Modern) for the Jumex Foundation in Mexico City.

Holidays brings together a series of sculptures and paintings from argentinian artist Edgardo Gi­ménez, that show the inexhaustible validity and creativity of one of the most talented and original pop art artists of all times.

The image of the “civilized monk Chita” as the artist designates the legendary companion of Tarzan, is a recurring theme in his latest works and has a fundamental role in this exhibition.

When defining the exhibition, Edgardo Giménez points out: “it is true to my usual purpose, which is to make an anti-depressant art. My works do not allow you to be in a bad mood “. He adds: “It seems to me that in these moments when we are invaded by bad news, my art does not have to match reality; it must contrast that sorrow and rescue the joy of life. Let’s not forget that we are passing through here and that this transit should not be a nightmare, but a marvel. “

Edgardo Giménez was born in Santa Fe (Argentina) and at the age of thirteen he started working in an ad­vertising agency. Self-taughted with a vocation and a talent out of the ordinary, in the 1960s he joined the legendary Di Tella Institute of Buenos Aires. Multifaceted creator, graphic artist, sculptor, draftsman and painter. He created stage sets for cinema and theatre and designed several houses, including his refuge and workshop in Punta Indio (Buenos Aires) and the residence of Romero Brest in City Bell, La Plata (Buenos Aires). The architectural plans of the latter inte­grated the exhibition Transformation in Modern Architecture at the MoMA Museum in New York in 1979.

He received majors awards, such as: the Honor Prize at the First International Biennial of Applied Arts in Pun­ta del Este, Uruguay (1965); the Honor Prize at the International Poster Biennale, at the National Museum of Warsaw (1996); Silver Condor Prize by the Argentinian Association of Cinematographic Chroniclers for the best scenography (1973) and the Leonardo Award for the Artistic Career, MNBA (1997).

His works were exhibited in Buenos Aires, Santiago de Chile, Bogotá, Caracas, Mexico City, St. Paul, Was­hington, Munich, Warsaw, Leipzig, New York, New Orleans, Toronto, Cleveland and Paris.

He recently participated in various exhibitions at the Torcuato Di Tella Institute in Buenos Aires, the National Museum of Fine Arts in Neuquén, the Tigre Art Museum and the Kirchner Cultural Center in Argentina. In 2018 he had an individual exhibition entitled Where all the dreams come true, at the Tigre Art Museum in Buenos Aires, (Argentina).