(June 8 – July 2, 2011)

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Mixed media on canvas, 136 x 195.5 cm., 2011

ENLACE ARTE CONTEMPORÁNEO Gallery (Av. Pardo y Aliaga 676, San Isidro) announces the opening of the solo painting exhibition LA PROYECCIÓN DEL DESEO by the renown Argentinean CLAUDIO GALLINA, next Wednesday, June 8 at 7.30 p.m. The artist will be present at the exhibition. Born in Buenos Aires, Argentina (1964).Graduated from the Escuela de Bellas Artes Prilidiano Pueyrredón and studied set design under Professor Lerchundi, set and costume designer of the Teatro Colón. Attended the workshops of Osvaldo Attila, Cristina Santander, and Armando Sapia, among others. Performed set design for television and theater. His work has been exhibited in Argentina, Colombia, Chile, the United States, Mexico, Panama, Peru, Puerto Rico, and Venezuela. In this exhibition, we may observe a group of fourteen works made using oil on canvas (both medium and large in size); watercolors; and mixed techniques on paper. In this series, the common thread is drawing, which may be divided or differentiated into three degrees or instances: 1) the doodle, as a form of primary expression or drawing; 2) architecture as rational form or drawing; and 3) the blackboard as a conceptual instance of drawing. The doodle is directly related to childhood and play, and is used as a container configuration to explore this aspect of interest in his work. Architectural drawing allows the artist to engage with elements that are part of his vocational background, that symbiosis between architecture and set design. Finally, the blackboard acts as a screen for drawing and conceptual expression, as well as a center point for the projection of desires and expectations, doubts, questions, and uncertainties. As work and creation proceed, Claudio Gallina interrogates himself through the very act of painting, transforming the surfaces of the canvas into questions and arguments, developing sincere essays on desire, the concealed desires that come to light, projected onto and through blackboards, doodles, and architecture. Desire as a driving force of the project and predecessor of reality. Of his work, it has been said: “(…) the paintings of Claudio Gallina make use of memory as a method of knowledge, and insinuation and metaphor as a creative language. Gallina is the child of our consciousness, never willing to forget. Even those emotions and recollections that we repress as adults are present in his paintings. But instead of resorting to the violence and provocation so common in contemporary art, he has used theater and the language of drama as a means of expiation. (…) Gallina helps us become aware of ourselves, forcing our adult selves to confront our fears, lay bare our temptations, insubordinations, to recognize the thousand strings that tug at our sexual desire. (…) In the face of conflict, repressed desires, and those paths never found, Gallina proposes a route that is neither easy nor idyllic. He is no innocent or prude. What he does propose is art as a doorway. He proposes that we never forget; that we take a step and then a leap; that we play. In this way, our stories, our personal dramas, are portrayed with humor and irony in all of the paintings of this particular homo ludens.” (Santiago Toca, Mexico, July 2007). “Gallina’s approach involves aspects of set design and proposes a past-present sequence in which the story of tragedy is incarnated in the classroom through the blackboard, a metaphor for transmission. But maybe the most dramatic and inspirational point is that at which the actors and witnesses of this transfer become bearers of memory.” (Elio Kapszuk, Argentina, April 2011).