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≡ 马凌画廊上海 | Condo Shanghai 2019 - 群展“秩序的幽灵”7月13日开幕！

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≡ 周奥 Jo?o Vasco Paiva

景观/对象WA Paisagem/Objeto WA

2016

橡木上固化油墨打印 Cured ink print on oak

152.4 x 234 cm

? 图片由艺术家和马凌画廊提供

Image courtesy of the artist and Edouard Malingue Gallery

新展开幕 Upcoming Exhibition

“秩序的幽灵”

“The Spectre of Order”

吉诺尼莫·埃莱斯佩 Jerónimo Elespe

瑞吉娜·侯赛·加林多 Regina José Galindo

周奥 Jo?o Vasco Paiva

法蒂玛·罗德里哥 Fátima Rodrigo

开幕 Opening: 19.07.13 | 3-7 pm

展期 Duration: 19.07.13 - 08.25

地点 Address:

马凌画廊 | 上海 | 龙腾大道2879号2202室

Edouard Malingue Gallery | Shanghai

2202, 2879 Longteng Avenue

(Scroll down for English version)

继2018年Condo Shanghai的成功举办，作为发起者，今年马凌画廊再次携手另外六家上海本地画廊及空间，向来自伦敦、洛杉矶、东京、墨西哥城和危地马拉等城市的共计十四家国际画廊发出空间共享的邀请，共同参与2019年的Condo Shanghai。“Condo” 之名取自“Condominium”（共治），是国际上画廊之间联手合作展览的新兴方式，分享自己的空间，与受邀画廊一起展示各自代理艺术家的精彩作品。

马凌画廊将联手三家拉美画廊呈现四位艺术家的联展《秩序的幽灵》。墨西哥画廊LABOR将带来西班牙艺术家吉诺尼莫?埃莱斯佩（Jerónimo Elespe）的绘画作品；来自秘鲁利马的画廊80m2 Livia Benavides会展出本国女艺术家法蒂玛?罗德里哥（Fátima Rodrigo）的作品；危地马拉画廊Proyectos Ultravioleta将带来危地马拉著名行为艺术家瑞吉娜?侯赛?加林多（Regina Jose Galindo）的行为及装置作品。马凌画廊很荣幸可以作为主场画廊，携葡萄牙艺术家周奥（Jo?o Vasco Paiva）的创作，与另外三位优秀艺术家在同一个平台上开展交流与对话。

1987年出生于秘鲁首都利马，法蒂玛?罗德里哥毕业于秘鲁天主教大学视觉艺术专业，后在2017年完成位于波哥大Flora arts+natura主办的Beca Mundi项目。在2018年，法蒂玛参与了伦敦Gasworks的艺术家驻地项目。用相似于后绘画性抽象的创作语言，法蒂玛试图研究拉丁美洲有关现代主义和性别认知的种种现象，并探索其是如何影响我们的欲望和那些经由重复行为而塑造出的社会风俗。这些风俗最终会变成一种宗教教规的存在，对女性的影响尤为显著。通过从互动装置到绘画作品再到手工艺纺织品的艺术创作形式，法蒂玛不断探究现代性这一概念是如何能被理解为一种美学、一个历史片段和一种愿景。

≡ 法蒂玛·罗德里哥 Fátima Rodrigo

无题 Untitled

2019

织物上亮片 Sequins on fabric

250 x 150 cm

? 图片由艺术家和80m2 Livia Benavides提供

Image courtesy of the artist and 80m2 Livia Benavides

周奥（b.1979）毕业于葡萄牙波尔图艺术学院，2006年移居香港研修艺术硕士课程，在2008年以优异成绩毕业后，周奥开始用多种媒介进行创作，不断探索城市空间如何成为美学作品的催化剂。周奥从香港的基础设施、活动、生产制造和生活垃圾出发，找到了构建一幅更具普遍意义的、全球化的城市蓝图的切入点，并对我们在此之中所扮演的角色展开了想象。周奥艺术实践的目标超越了单纯的城市观察，他实质是在尝试发掘一种在多个国家可共享的语言系统，而这也正是我们这个“超级现代化”时代的本质。本次展览中周奥的作品出自他一次纽约驻地项目，利用工业材料制成的雕塑作品充分利用了例如公园长椅、扶手和阶梯这些寻常可见的城市设施，将地球卫星图像印制在雕塑表面，并允许滑板爱好者们在这些雕塑上自由滑行，抽象的卫星图像变得模糊，滑板者的行为重塑了雕塑的表面肌理。作品延续了周奥对于“非场所”（non-places）的探讨，以及与人群之间的关系——公共基础设施建筑和人群的聚集。周奥的作品通过重构整个制作过程对我们习以为常的事物进行反思，激发着我们去重新审视真实/自然、虚构/生产制造之间的差异。

瑞吉娜?侯赛?加林多（b.1974）是一位以行为艺术为主要创作手段的视觉艺术家及诗人。她出生于危地马拉城，并一直在此居住和工作。以危地马拉自身的特殊社会环境为出发点，瑞吉娜试图谴责有关种族和性别歧视以及因地方性权利关系不平等所导致的人权滥用等一系列当下社会中的暴力与不公，并进一步探索隐藏在这一人类社会黑暗面之下的伦理意涵。瑞吉娜被认为是一位借由令人不安且不适的激进行为表演而不断突破自身局限的艺术家。瑞吉娜曾参加过包括卡塞尔文献展、威尼斯双年展、沙迦双年展等重要国际展览，并获得第51届威尼斯双年展最佳青年艺术家金狮奖。她的作品还被多个公立机构收藏，其中包括纽约现代美术馆、泰特美术馆、古根海姆美术馆和蓬皮杜中心。本次展出的作品《世界强国》是瑞吉娜应2019年乌镇当代艺术邀请展之邀而特别创作。在乌镇展览开幕的当天，瑞吉娜将一辆雪佛兰汽车缓缓驶入广场，在现场等候多时的汽修工人开始在观众面前拆卸汽车，而瑞吉娜则纹丝不动地坐在驾驶座上，直到能拆卸的部件全部拆卸完毕，艺术家最终与拆解的零件并置在广场中央。本次展览中会呈现组成一辆汽车的完整零部件以及表演现场的视频，同时展出的还有一部完全拆卸的iPhone手机。

吉诺尼莫?埃莱斯佩（b.1975）的绘画创作过程总是持续数月甚至是数年之久。这一缓慢的加减过程使得他的每一幅绘画作品超越了自身的意义，成为了一个个探索时间和记忆本质的平台。以参考自传文献为起点，吉诺尼莫审视了绘画作为记录现实和虚构的可能。他通过极小尺寸的绘画创作来探索作品的物理性质，从而在这些被缩小的事物的客体或是说物质构成和其所指代的非物质的主题之间开启了一个充满矛盾的空间。吉诺尼莫不仅对绘画史有着深入的研究，还深受象征主义、十九世纪末盛行的法国颓废主义文学和唐纳德?巴塞尔姆以及詹姆斯?巴拉德等人所著的文学作品的影响。吉诺尼莫的艺术实践更似一场介于现实和虚构之间的对话，在其中，他的作品有着多重的意义，既是模糊且私人的抽象记事，又是多种语言的实验工具，还是创作小说的记忆图库。

≡ 吉诺尼莫·埃莱斯佩 Jerónimo Elespe

However

2019

铝板油画 Oil on aluminum panel

18 x 13 cm

? 图片由艺术家和LABOR提供

Image courtesy of Courtesy of the artist and LABOR

Following its successful launch last year, Edouard Malingue Gallery is delighted to host 2019 Condo Shanghai alongside six participating local art spaces from the city, which will welcome fourteen international galleries. Condo takes its name from ‘condominium’ and represents a new format for international galleries to collaborate in exhibition-making: host galleries share their spaces with visiting galleries – either by co-curating an exhibition together, or dividing their galleries and allocating spaces.

For the 2019 edition of Condo Shanghai, Edouard Malingue Gallery is presenting a group exhibition, ‘The Spectre of Order’, in collaboration with three Latin American galleries. LABOR (Mexico City) will present paintings by Spanish artist Jerónimo Elespe; 80m2 Livia Benavides (Lima) will present works by Peruvian artist Fátima Rodrigo; Proyectos Ultravioleta (Guatemala City) will present a performance and installation by Guatemalan artist Regina José Galindo. As the host gallery, Edouard Malingue Gallery is proud to present the works of Portuguese artist Jo?o Vasco Paiva in dialogue with the guest artists on the same platform.

Fátima Rodrigo was born in Lima, Peru, in 1987. She studied visual arts at the Pontificia Universidad Católica del Perú and was awarded the Beca Mundi at Flora arts+natura, Bogota, 2017. In 2018, she took part of Gasworks residency program in London. Using a language close to Post-Painterly Abstraction, Fatima Rodrigo analyzes the representation of modernism and gender identity in Latin America and how these influence our desires and interactions through repeated behaviors that shape conventions, eventually becoming a canon, especially affecting women. Her work ranges from interactive installations to drawings and artisanal textile pieces through which she investigates how this concept of modernity could be understood as an aesthetics, a moment in history, and an aspiration.

≡ 瑞吉娜·侯赛·加林多 Regina Jose Galindo

世界强国 Potencia Mundial (World Power)

2018

录像 Video

13 min 05 sec

受2019乌镇国际当代艺术邀请展委托

Commissioned by Wuzhen Contemporary, 2019

? 图片由艺术家和危地马拉城Proyectos Ultravioleta提供

Image courtesy of the artist and

Proyectos Ultravioleta, Guatemala City

拍摄 Photo by Wu Qingshan

A graduate from the Porto Arts Institute, Jo?o Vasco Paiva (b. 1979, Coimbra) moved to Hong Kong in 2006 to complete a Master of Fine Arts in Creative Media. Upon graduation with distinction in 2008, Paiva set to create works in multiple mediums, which consistently explore how urban spaces may serve as catalysts for aesthetic production. While Paiva’s work is intrinsically tied to Hong Kong, it resounds with dense urban environments around the globe, suggesting that cities, regardless of location, share certain visual and physical lexicon which may be reduced to informative truths about the age of hypermodernity we are living in. On display is ‘Benches, Stairs, Ramps, Ground’, which stems from Paiva’s residency in New York. Made of industrial materials, the work draws on the formal qualities of urban furniture such as park benches, hand rails and staircases. Skateboarding is used as a tool to draw, mold and destroy the pictorial of these structures. Paiva simulates degradation on the sculptures by applying satellite images of the earth as texture, and then allowing skaters to act upon the materials as they might in a city park, thus blurring the abstract landscape. A meditation on Paiva’s continued interest in ‘non-places’ and human interactions in relation to public facilities, ‘Benches, Stairs, Ramps, Ground’ invites, through its usurping of our quotidian surroundings, reflections on the intricate layers between the actual and the natural, between the fictional and the fabricated.

A visual artist and poet whose main medium is performance, Regina José Galindo (b. 1974, Guatemala City) uses the context of Guatemala City as a departure point to critique social violence and injustice such as racial and gender discrimination, as well as abuse of power in Guatemala and elsewhere. An artist who pushes beyond her own limits through radical, disturbing, and ethically uncomfortable performances, Galindo has exhibited widely at Documenta, Venice Biennale and Sharjah Biennial, amongst others. She was the recipient of the Leone d'Oro for the Best Young Artist of the 51st Venice Biennale, and her work is in the public collections of institutions including MoMA, Tate, Solomon R. Guggenheim Museum, and Centre Pompidou. On display is ‘Potencia Mundial’ (World Power), a commission Galindo created for 2019 Wuzhen Contemporary Art Exhibition, the opening of which saw the artist driving a Chevy into the venue, and a group of Chinese workers dismantling it whilst she sat in the car. The presentation at Condo Shanghai will feature the remnants of the car alongside a dismantled iPhone.

At the heart of Jerónimo Elespe’s (b. 1975, Madrid) paintings is a slow, cumulative process of addition and subtraction lasting months or even years, which reveals painting itself as a platform to investigate the nature of time and memory. Taking autobiographical references as a departure point, Elespe examines the possibilities of painting and drawing as a record of both reality and fiction. Often working in very small formats, Elespe explores the physical properties of his works as an opening to the contradictory space between the purely objectual part of the reduced pieces – markedly physical – and their themes as pointers to the immaterial. Informed by his thorough study of the history of painting, Elespe cites inspirations such as the symbolist, the decadent French literature of the late 19th century, Donald Barthelme, and JG Ballard to weave a dialogue between reality and fiction, wherein art is simultaneously a personal journal, a semantic experiment, and a pictorial repository of mnemonic narratives.

艺术家简介 About artists

吉诺尼莫·埃莱斯佩 Jerónimo Elespe

1975年生于西班牙马德里，吉诺尼莫的绘画创作过程总是持续数月甚至是数年之久。这一缓慢的加减过程使得他的每一幅绘画作品超越了自身的意义，成为了一个个探索时间和记忆本质的平台。以参考自传文献为起点，吉诺尼莫审视了绘画作为记录现实和虚构的可能。他通过极小尺寸的绘画创作来探索作品的物理性质，从而在这些被缩小的事物的客体或是说物质构成和其所指代的非物质的主题之间开启了一个充满矛盾的空间。通过一系列令人费解、难以捉摸的装置作品，吉诺尼莫旨在将展厅打造成一个特殊的空间，观众必须得主动地在展品之间形成自己的观展节奏，并亲自发现潜在的浏览路线，如此一来，观察细小作品的举动就如同是在复制艺术家本人在工作室中实际发生过的行为。吉诺尼莫十分强调这一做法的重要性，因为这样的安排可以在艺术家和观众之间创造出一种感官的转移。吉诺尼莫不仅对绘画史有着深入的研究，还深受象征主义、十九世纪末盛行的法国颓废主义文学和唐纳德·巴塞尔姆以及詹姆斯·巴拉德等人所著的文学作品的影响。吉诺尼莫的艺术实践更似一场介于现实和虚构之间的对话，在其中，他的作品有着多重的意义，既是模糊且私人的抽象记事，又是多种语言的实验工具，还是创作小说的记忆图库。吉诺尼莫的个展曾于世界多地举办，包括西班牙Maisterravalbuena（2018）、美国文顿画廊（2015）、马德里象牙出版社（2014）、美国Sikkema Jenkins & Co（2012）、葡萄牙Galeria Pedro Cera（2012）、德国Nusser & Baumgart（2012）、西班牙马拉加当代艺术中心（2012）和西班牙Galeria Soledad Lorenzo（2009）等。精选群展包括纽约Van Doren Waxter（2018）、马德里Museo ReinaSofia（2017）、马德里CentroCentro（2015）、桑坦德当代艺术博物馆（2013）、慕尼黑Nusser & Baumgart（2012）、纽约Mitchell Algus Gallery（2010）和莱比锡棉纺厂Nusser & Baumgart（2009）等。

? 图片由艺术家和LABOR提供

Image courtesy of the artist and LABOR

摄影 Photo by Chanatip Yodprachong

Jerónimo was born in 1975 in Madrid, Spain. Through a slow cumulative process of addition and subtraction, lasting months or even years each one of Jerónimo’s paintings reveals itself as a platform to investigate the nature of time and memory. Taking as starting points autobiographical references the artist examines the ability of painting and drawing as a record of reality and fiction. Often working in very small formats, he explores the physical properties of the works opening a contradictory space between the purely objectual part of the reduced pieces, markedly physical, and their theme, usually referring states close to the immaterial. On his enigmatic pieces installations, Jerónimo stresses the importance of using the exhibition space as a place in which the viewer must actively work establishing rhythms and potential routes between the works, thus making the observation of small pieces a physical act that replicates the artist in his studio. Creating, in short, a sense to the transfer between artist and viewer. Along with a thorough study of the history of painting, with sources as diverse as the symbolist and decadent French literature of the late nineteenth century or Donald Barthelme and JG Ballard’s narrative, among others, they play a key role in Jerónimo’s practice, following a dialogue between reality and fiction in which the works fulfill both the function of ambiguous and very personal abstract journals, experimentation tools of various languages and pictorial repositories of memory created fictions. Jerónimo ’s solo exhibitions has been exhibited internationally, including Maisterravalbuena, Madrid, Spain, 2018; Eleven Rivington, United States, 2015; Ivorypress, Madrid, Spain, 2014; Sikkema Jenkins & Co, United States, 2012; Galeria Pedro Cera, Portugal, 2012; Nusser & Baumgart, Germany, 2012; Centro de Arte Contemporáneo (CAC), Málaga, Spain, 2012; Galeria Soledad Lorenzo, Madrid, Spain, 2019 among other locations. His selected group exhibitions include Van Doren Waxter, New York, United States, 2018; Museo Reina Sofia, Madrid, Spain, 2017; CentroCentro, Madrid, Spain, 2015; Museo de Arte Contemporáneo, Santander, Spain, 2013; Nusser & Baumgart, Munich, Germany, 2012; Mitchell Algus Gallery, New York, United States, 2010; Nusser & Baumgart at Leipziger Baumwollspinnerei, Leipzig, Germany, 2009 among others.

瑞吉娜·侯赛·加林多 Regina José Galindo

瑞吉娜·侯赛·加林多是一位以行为艺术为主要创作手段的视觉艺术家及诗人。1974年出生于危地马拉城市，并一直在此居住和工作。以危地马拉自身的特殊社会环境为出发点，瑞吉娜试图谴责有关种族和性别歧视以及因地方性权利关系不平等所导致的人权滥用等一系列当下社会中的暴力与不公，并进一步探索隐藏在这一人类社会黑暗面之下的伦理意涵。瑞吉娜曾被Loris Romano形容是一位借由令人不安且不适的激进的行为表演而不断突破自身局限的艺术家。瑞吉娜曾参加许多重要展览，包括：第14届卡塞尔文献展（2017）、第51、53和54届威尼斯双年展、第10届上海双年展（2016）、第14届昆卡国际双年展（2011）、第29届卢布尔雅那国际版画双年展（2011）、第10届沙迦双年展（2011）、2010年蓬特韦德拉双年展、第17届悉尼双年展（2010）、第二届莫斯科双年展（2007）、第一届奥克兰三年展（2007）、第一届加纳利群岛艺术与建筑双年展（2006）、第三届阿尔巴尼亚双年展（2005）、第二届布拉格双年展（2005）、第三届利马双年展（2002）。2005年，加林多凭借作品《谁能抹去证据/脚印？》获得第51届威尼斯双年展最佳青年艺术家金狮奖。

? 图片由艺术家和Proyectos Ultravioleta提供

Image courtesy of the artist

and Proyectos Ultravioleta

摄影 Photo by Jose Oquendo

A visual artist and poet whose main medium is performance, Regina José Galindo was born in 1974 in Guatemala City, where she continues to reside and work. Using Guatemala’s own context as a starting point, Regina explores and denounces the ethical implications of social violence and injustices related to racial and gender discrimination, as well as human rights abuses resulting from inequalities endemic in the power relations of contemporary societies. She is, in the words of Loris Romano, “an artist who pushes beyond her own limits, through radical, disturbing, and ethically uncomfortable performances.” Regina has participated in events such as the Documenta 14, 2017; the 49th, 51st, 53rd, and 54th Venice Biennials; the 10th Biennial of Shanghai, 2016; the 9th International Biennial of Cuenca, 2011; the 29th Biennial of Graphic Arts of Ljubljana, 2011; the 10th Sharjah Biennial, 2011; the Biennial of Pontevedra in 2010; the 17th Biennial of Sydney, 2010; the 2nd Biennial of Moscow, 2007; the First Triennial of Auckland, 2007; the Venice-Istanbul Exhibition, the 1st Biennial of Art and Artitecture of the Canarian Islands, 2006; the 3rd Biennial of Albania, 2005; the 2nd Biennial of Prague, 2005 and the 3rd Biennial of Lima, 2002. In 2005, Galindo received the Golden Lion for best young artist at the 51st Biennial of Venice for her work Who Can Remove the Footprints?(?Quien puede borrar las huellas?, 2003).

周奥 Jo?o Vasco Paiva

1979年生於葡萄牙科英布拉, 周奥毕业于葡萄牙波尔图艺术学院,2006年移居香港研修艺术硕士课程。在2008年以优异成绩毕业后, 周奥开始用多种媒介进行创作,不断探索城市空间如何成为美学作品的催化剂。周奥的作品本质上与香港紧密相连,同时亦可应用于全球各地的密集城市环境,显示出不管是哪个城市,其实都有着同样的视觉与物理特征,而这些特征在经过记录与抽象化的过程后,能分解成为可被解读与具有丰富资讯的事实。周奥的个展遍布世界各地，包括香港Absolut Art Bar（2017）、里斯本当代艺术国家博物馆-Museu do Chiado（2016）、布里斯班Media Art Asia Pacific（2015）、苏黎世Counter Space（2015）、澳门Casa Garden – 东方基金会（2014）、香港歌德学院（2013）、香港汉雅轩（2010）等。其群展包括伦敦伯尔德趋势中心（2018）、曼彻斯特中国当代艺术中心（2018）、上海胶囊（2017）、纽约PRACTICE（2017）、北京中央美术学院美术馆（2016）、柏林利希滕贝格工作室（2014）、纽约立方计划空间（2013）、香港Para/Site Art Space（2012）、柏林Sur La Montagne（2010）等。

? 图片由艺术家和马凌画廊提供

Image courtesy of the artist

and Edouard Malingue Gallery

Jo?o was born in 1979 in Coimbra, Portugal. A graduate from the Porto Arts Institute, Jo?o moved to Hong Kong in 2006 to complete a Master of Fine Arts in Creative Media. Upon graduation with distinction in 2008, Paiva set to create works in multiple mediums, which consistently explore how urban spaces may serve as catalysts for aesthetic production. While Paiva’s work is intrinsically tied to Hong Kong, his work resounds with dense urban environments around the globe: it suggests that cities, regardless of location, share certain visual and physical characteristics that, following a process of documentation and abstraction, may be reduced to readable and informative truths. Jo?o has held solo exhibitions at Absolut Art Bar, Hong Kong, 2017; National Museum of Contemporary Art Museu do Chiado, Lisbon, Portugal, 2016; Media Art Asia Pacific (MAAP), Brisbane, Australia, 2015; Counter Space, Zurich, Switzerland, 2015; Casa Garden - Funda?ao Oriente, Macao, 2014; Goethe Institute, Hong Kong, 2013; Hanart Tz Gallery, Hong Kong, 2010 among others. Group exhibitions include Bold Tendencies, London, UK, 2018; CFCCA, Manchester, UK, 2018; Capsule Shanghai, Shanghai, China, 2017; PRACTICE, New York, USA, 2017; CAFA Art Museum, Beijing, China, 2016; Lichtenberg Studios, Berlin, Germany, 2014; The Cube Project Space, New York, USA, 2013; Para/Site Art Space, Hong Kong, 2012; Sur La Montagne, Berlin, German, 2011 among others.

法蒂玛·罗德里哥 Fátima Rodrigo

生于1987年秘鲁利马，法蒂玛毕业于秘鲁天主教大学视觉艺术专业，后在2017年完成位于波哥大Flora ars+natura主办的Beca Mundi项目。在2018年，法蒂玛参与了伦敦Gasworks的艺术家驻地项目。法蒂玛总是通过多样的创作媒介，如绘画、雕塑、录像和装置，来探索现代主义对拉丁美洲的建筑、艺术和流行文化的深远影响。其中，性别认同是她主要的创作主题，尤其是有关现代性如何衍生出对女性和跨性别人群的种种暴力行为，这一现代性往往是指通过城市面貌和人体变化所呈现出的历史进程、哲学和唯美主义运动。法蒂玛的作品常常深植于与不同物品和时刻的邂逅之中，比如服装和建筑图案，或是那些揭示不同设备如何塑造人们的欲望和互动的肥皂剧中的对白。例如，法蒂玛曾参照上个世纪七十年代在拉丁美洲民谣男歌手中广为流行的男士T恤图案，以不一样的媒材重新呈现，以赋予这些图案全新的意义。法蒂玛在布面绣上大量散发荧光的彩色亮片来复制这些抽象的几何图形，多彩的闪光色完全迥异于传统真实的色调，由此试图女性化这些本质上极具男性特质的图案，在探讨文化的同时更是探讨了对身份的认知。假若在拉丁美洲，抽象是一种摒弃任何种族认知联想的纯粹的先锋语言，那么法蒂玛就是在用重新演绎的充满柔情的几何结构来削弱并质疑这一本应纯净的中性抽象语言。其近期在多地举办个展，包括利马80M2（2018）、波哥大Valenzuela Klenner画廊（2018）、利马Lucía de la Puente画廊（2016）、利马Garúa（2015）和利马Ricardo Palma文化中心（2013）。精选群展包括圣地亚哥Matucana 100（2018）、利马ICPNA（2018）、柏林汉堡火车站美术馆（2017）、波哥大Bienal Sur（2017）、波哥大记忆和和解中心（2017）、波哥大Valenzuela Klenner画廊（2017）、墨西哥El cuarto de máquinas（2017）、利马Y Gallery（2017）、利马Bisagra（2016）、圣胡安Bienal tropical（2016）、纽约流动工厂（2015）、利马Centro Cultural PUCP（2014）、利马秘鲁艺术文化中心（2013）、安特卫普当代艺术博物馆（2012）和德累斯顿双年展（2012）等。

? 图片由艺术家和80M2 Livia Benavides提供

Image courtesy of the artist

and 80M2 Livia Benavides

Fátima Rodrigo was born in 1987 in Lima, Peru. She studied visual arts at the Pontificia Universidad Católica del Perú and was awarded the Beca Mundi at Flora ars+natura, Bogota, 2017. In 2018, she took part of Gasworks residency program in London. Fátima works across drawing, sculpture, video and installation to explore the lasting influence of modernism in Latin American architecture, art and popular culture. Gender identity is central theme in her practice, specifically in considering how modernity, understood broadly as a historical period, philosophy and aesthetic movement embodied in landscapes and human bodies, enables forms of violence against women and non-binary people. Her work is rooted in encounters with objects and moments such as clothing, architectural motifs or lines of dialogue from telenovelas which are subtly subverted to reveal how such devices shape our desires and interactions. For example, referring to referred to the patterns found in different men’s shirts manufactured during the 70’s, the golden age of ballad singers in Latin America, Fátima reproduces them by a new unique material to introduce a new layer of meaning. She meticulously threads sequins reproducing patterns reminiscent of geometric abstraction but whose iridescent colors are radically foreign to the characteristic tones of this pictorial tradition. By means of this artisanal work and the palette Rodrigo intents to “feminize” the implicit pictorial referents which are fundamentally masculine. The result, is a hybridization of not only culture, but also identity. If abstraction has served, in Latin America, as the aseptic language of a vanguard that abandoned expressions linked to racial identity, Rodrigo undermines and questions the supposed purity of abstract language with a sentimental geometry. Her most recent solo shows include: Lo que un día fue No sera, Livia Benavides, 80M2, Lima, 2018; Mala Mujer, Valenzuela Klenner Gallery, Bogotá, 2018; Geometría Sentimental, Lucía de la Puente Gallery, Lima, 2016; Otras Tardes, Garúa, Lima, 2015; and Romántico Elegante, Ricardo Palma Cultural Centre, Lima, 2013. She has taken part in numerous group shows, most notably: Los nuevos sensibles, Matucana 100, Santiago de Chile, 2018; Concurso de Arte Contemporáneo, ICPNA, Lima, Perú,2018; Ciber café, Amazonas Shopping Centre, Hamburger Bahnhof, Berlín, Alemania.2017; Feminicidio: ?Ni una menos!,Memory and Reconciliation Centre,Bogotá, 2017; Muere 100, Valenzuela Klenner Gallery, Bogotá, 2017; KM 55, Bienal Sur, Buenos Aires, 2017; Espejo negro, elefante blanco, El cuarto de máquinas, Mexico City, 2017; Generación Y, Y gallery, Lima, 2017; Aló Teresa, Bisagra, Lima, 2016; Bienal tropical, San Juan, 2016; Art Fair Show, Flux Factory, New York, 2015; 17th Concurso Pasaporte para un Artista, Centro Cultural PUCP, Lima, 2014; La tres veces coronada, Fine Arts Cultural Centre of Perú, Lima, 2013; ViVO 3.0 for Time Canvas, Museum of Contemporary Art, Antwerp, 2012; and Ostrale ‘012, Dresden Biennale, Dresden, 2012.

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