_cmo-exponer-en-una-galeria-de-arte-preview-1.jpg "👉🏼 ¿Cómo exponer en una galeria de arte? from galeria de arte biblioteca de desenhos so das antigas Video Screenshot Preview 1")
Gallery_cmo-exponer-en-una-galeria-de-arte-preview-3.jpg "👉🏼 ¿Cómo exponer en una galeria de arte? from galeria de arte biblioteca de desenhos so das antigas Video Screenshot Preview 3")
Gallery_cmo-exponer-en-una-galeria-de-arte-preview-hqdefault.jpg "👉🏼 ¿Cómo exponer en una galeria de arte? from galeria de arte biblioteca de desenhos so das antigas Video Screenshot Preview hqdefault")
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Galeria Marino
Galeria Marino
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_joie-de-vivre-1907-2013.webp "1907: we are in the “Belle Epoque”, far from the last war and unaware of what is coming next.")
_cmo-exponer-en-una-galeria-de-arte.webp "Galeria Marino")
_mrton-nemes-techno-zen-92-hungarian-pavilion-at-venice-art-biennale-2024.webp "Márton Nemes: Techno Zen / Hungarian Pavilion at Venice Art Biennale 2024. April 19, 204.<br/>Official description: Márton Nemes’ work is influenced by techno subcultures; the explosion and rearrangement of the pictorial field gives a psychedelic character to his abstract paintings that evoke the visual atmosphere of nightclubs. Combining painterly and sculptural elements, his multimedia installations create a hypnotic spatial dynamic that propels the viewer from the harsh, real world into a dizzying, fluorescent colour field. Nemes designed the project Techno Zen as an immersive, painting-based Gesamtkunstwerk that expands to other media. Laser-cut steel, car paint, enamelled steel plate, projection, DMX lights, speakers and coloured fans are the tools that he reinterprets the palette of painting with and makes the environment multisensory: its optical, acoustic and haptic content unfolds through the combined effects of light, colour, movement and sound. The project, structured in three main parts, can be fully experienced when the visitor stands in the centre of the pavilion that links left, right, front and back spaces. To be in the middle carries a symbolic meaning, it is both physical and ontological. In an era of polarized societal phenomena that exclude nuances, the project conveys a humanistic message that we, albeit its simplicity, should keep reminding ourselves of.")
_acceso-a-galeras-de-arte-claves-para-el-exito-en-el-mercado-del-arte.webp "Carlos Martinez Leon")
_las-galeras-de-arte-crtica-y-experiencias-propias.webp "Antonio García Villarán")
_archie-moore-kith-and-kin-92-australian-pavilion-at-venice-art-biennale-2024.webp "Archie Moore: kith and kin / Australian Pavilion at Venice Art Biennale 2024. April 19, 2024.<br/>Official description: First Nations peoples of Australia are some of the oldest continuous living cultures on Earth, and statistically one of the most incarcerated. Archie Moore’s kith and kin is both evidence and reminder of these facts. The sprawling chalk on blackboard mural traces his Kamilaroi and Bigambul relations back 65,000+ years, including the common ancestors of all humans. Handwritten across the walls and ceiling, the family tree engulfs the audience. The education materials refer to the transmission of knowledge and what is left out of history. Kamilaroi and Bigambul words in the drawing assert Indigenous language revival initiatives, while holes signal colonial invasions, massacres, diseases and displacement that sever familial ties. The central reflection pool is also a void; a memorial to First Nations deaths in state custody attended by piles of coroners’ reports. Archie adds archival records referencing kin to demonstrate how colonial laws and government policies have long been imposed upon First Nations peoples. These bureaucratic papers documenting tragedies are cradled by the reflection of the family tree in the surrounding water. The artist uses his family history to make systemic issues uncomfortably tangible to audiences while providing a prescient reminder that we are all kin.")
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