61.42H x 125.98W inches
In Onde quer que voce esteja (2011) Accinelli sets up a row of cardboard shipping tubes of varying heights and inscribes on them in black ink the words of the title, which translates in English as “Wherever you may be.” The words, while legible, seem like fragmented lines and shapes—almost but not quite a deconstruction of the text. Accinelli explores the relationship between objects as metaphors of their own materiality and as tools for conveying ideas.
Pablo Accinelli is an Argentinian artist living and working in Buenos Aires. His work includes sculpture, installation, photography, and mixed media, and shows subtle influences of prominent artists of the previous generation in South America—specifically those who investigated modernity through an individual’s mental and physical relationship to constructed space. His practice merges object design, the use of industrial and everyday materials, text, and images, seeking to explore both the internal and the external relationships objects have with the spaces around them. For instance in Relación interna 2 (2010), by measuring the space between two notebook pages with a half-cylinder of concrete—a trademark modernist material—Accinelli imbues the empty spaces among and between objects with an augmented depth.
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
Memorial for intersections #2 (2013) is a minimalist, black metallic structure that contains the brightly colored translucent circles, triangles, rectangles, and squares that originally were presented in Pica’s performance work A ? B ? C (2013)...
Lara uses things readily at hand to create objects and situations that interrogate the processes of art and the spectrum of roles that art and artists play in society...
Lucas’s quadroquadro (círculo) employs familiar materials for the artist: wood, paper, and glass...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval...
The two drawings in the Kadist Collection are part of a larger series entitled Las Mariposas Eternas (The Eternal Butterflies)...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...
With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
450 Hayes Street (excavation site) by Marcelo Cidade is a large scale photograph documenting the artist’s excavation of a parking lot located at 450 Hayes Street in San Francisco, a former section of the city’s Central freeway and current condominium site...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...