2024-01-21 09:08:00
Textures, colors, geometries, spaces and displacements: different ways of interpreting im-materialities when two artists think regarding spatiality from contrasting places of origin. Fernanda Rege (Buenos Aires, 1973) and Didier Cheuquel (Cutral Co, 1984) manage to establish a dialogue through their works, so different from each other, in the exhibition mounted at the Emilio Saraco Art Gallery (Olascoaga and Vias del railway, Neuquén).
Emerging from a call from the room in 2022, both artists, who did not know each other until then, discovered in each other’s work a possible dialogue that, as both recognized in a dialogue with Río Negro, they might only see in the final montage.
The exhibition offers a kind of double entry. On the one hand, “Cielos y geometries” brings together the works of Cheuquel; on the other hand, “Recartographing the World” does so with Rege’s. Because, as the press text of the exhibition says, while Fernanda Rege presents works with materials loaded with sensitivity, in which she proposes to question the objectivity of cartography and its representation of space, Didier Cheuquel makes a series of paintings in which he investigates space from geometry, perspectives, light and shadow.
The contrast between the straight lines of the geometry typical of Cheuquel’s art and the ways in which Rege gives his materiality made of tea bags that offer another type of movement, warmer if you will, perhaps also given by the tones of the chosen subject.
“I really liked how the exhibition was put together, I really liked sharing the room with Didier’s work, a play between his rigid and not so rigid lines in my case, a feeling of lightness, I would say.”
Fernanda Rege.
“Sewn by hand, the bags form different images that function as cartographies, for example, there is a map that can be viewed and that is placed in a certain way that has to do with territories and displacements, there is a lot in the work that work that has to do with the movement of crowds,” says Fernanda Rege.
“The movements also generate a recartography,” says the artist. “The territories are mapped according to the displacement of each person because, beyond the macro that one can say regarding that, the micro of each person is also remapped.”
For his part, Didier Cheuquel maintained his style of geometrizing the Patagonian landscape, around his native Cutral Co in color, but, this time, he incorporated skies, first photographed and then taken to the frame. And to those heavens he added doors and sales.
“I started to get really into taking photos of the sky at different times, always Cutral Co, also some in Chos Malal. I included those doors that hinted that there was something more, one more space, represented by stairs, a light that enters and the openings, the doors and windows,” reveals the artist.
Rege highlights from Cheuquel’s work the way he worked on airspace, the skies. “I really liked how the exhibition was put together, I really liked sharing the room with Didier’s work, a play between his rigid and not so rigid lines in my case, a feeling of lightness I would say. Didier has some works that open to a space that is heaven, there is a feeling of a window that he adds to his works. It is interesting to me what was generated between both works.”
For his part, Cheuquel sees space as the meeting point between both productions, “in working with real space, the skies, certain landscapes worked in our own ways.” And he agrees with Rege that once the exhibition was set up he saw the connection: “when I saw it I understood the work.”
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#exhibition #missed #Saraco #Art #Gallery #Neuquén
