MARTÍN RIWNYJ

(March 9 – April 13, 2010)

JPEG - 489.2 kb
THE CITY IS BOILING
Mixed media on canvas, 120 x 120 cm.
THE CITY IS BOILING IT'S A SPRINGTIME LOVE REAL DREAMS BLESSED EQUILIBRIUM

ENLACE ARTE CONTEMPORÁNEO Gallery (Av. Pardo y Aliaga 676, San Isidro) announces the opening of the exhibition NATURALEZA URBANA by MARTÍN RIWNYJ, next March 9. Riwnyj (Buenos Aires, 1972) studied at the Academia Arthea, Lanús (1983-1988), the Instituto Angelus Avellaneda in Buenos Aires (1988-1989), and the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón (1990-1995). He has held numerous solo and group shows in prestigious galleries and cultural centers in Peru, Argentina, the United States, Spain, Italy, and France. His work has won awards such as First Prize at the Salón Félix Amador, Vicente López (Buenos Aires, Argentina, 2004). This show brings together fourteen medium-sized works, whose primary theme revolves around the city and its environs. And it is precisely this city, depicted as a singular and vague cosmos, which temporarily harbors human presence, displaying vestiges of man’s passageand his destruction. The city decays, fragments, grows discolored, drapes itself in colors; it is destroyed and regenerates before our eyes, remaining always immutable, awaiting that ghostly presence (that of humankind) that paradoxically infuses it with life. Naturaleza urbana (Urban Nature) refers to the relationship between man and city, a nexus in which man never quite defines his role, whether as symbiont or parasite. Of the artist’s work, the following has been written: “... In the case of Riwnyj, much has been said of human presences, although these often appear marked by a kind of immobility (they almost seem like objects), waiting melancholically for their own destinies to be fulfilled. The Argentine artist must be credited, without a doubt, with the merit of depicting a climate of suspension that could not be described in quite the same way with words. (...) The city portrayed by Riwnyj also has a spirit of light that redeems it, in some ways. Certain reflections of Fernando Pessoa’s (from The Book of Disquiet) come to mind: ‘In the midst of the city’s constructions, in the alternating light and shadow (better yet, light and less light), the morning dissolves above it. It seems not to be born of the sun, but rather the city, the light up above radiating from the walls and roofs: not physically from them, but from them because they are there. The metropolis, where the anonymous multitude lives, indifferent and frantic, makes the light of morning its own, contaminating it and urbanizing it, almost dramatically. The lone individual, with his burden of hopes, is consecrated in a lop-sided, devastating confrontration.’” (Gabriel Simoncini). “… The cities of Martín Riwnyj are vestiges of a modernity misplaced in a tumultuous and paradoxically timeless present, which endures and adds to it its own distanced, postmodern reading, even suffocating it, even denying it. The testimonies are there: autonomous constructions of those who use them, sovereigns of that which we idealistically once thought of us ours (without realizing that it was we who belong to it: “The city that we inhabit,” “The city that watched as we were born,” “The city where we saw the dawn’s first light” (...) Because the buildings depicted by Martín are also metaphors through which it is possible to gaze at ourselves. His cities grow like an amplified form of our sense of community, of side-by-side coexistence. Precisely because they speak of that which identifies us, it is unnecessary for his images to be peopled with subjects: the series of presences found there is sufficient, recondite, latent, inside of each painting. Constructions are something intrinsically near to us, implicitly including us. They are neighbors, and also receptacles. Their walls are the most trustworthy confidantes, harboring all that is most intimate to us, just like those singular beds, boxes of dreams depicted in maps that show us paths and names where they may b