"Artur Lescher, Inner Landscape" Catalogue

ARTURLESCHER I NNERLANDSCAPE

Camino a Izcua 1543 2 Pueblo Garzรณn | Uruguay 5520 NE 4th Avenue Miami | United States Italy +39 3275550791 United States +1 9178582985 Uruguay +598 95646696 info@pieroatchugarry.com www.pieroatchugarry.com Artur Lescher Inner Landscapes First print run of 1000 catalogues September 2016 Milan, Italy Texts by Elena Forin Translations by Caleidos Translations S. L. Graphic design by Arch. Alessio Gilardi & Arch. Pietro Dormia Photography by Nicolas & Lorena Vidal, Leonardo Finotti, Daniele Cortese, Alessio Gilardi Printed by Campisi S.r.l.

CONTENTS 7

ENVIRONMENT, REMOVAL AND INFINITY

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PROJECT

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INNER LANDSCAPE

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SE MOVENTE (1989 | MUSEU DE ARTE MODERNA, SÃO PAULO, BR)

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INABSCÊNCIA (2012 | INABSCÊNCIA, PINACOTECA, SÃO PAULO, BR)

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LAUNDRY - LIQUID DESCONSTRUCTION (2014 | MADE BY BRAZILIANS, HOSPITAL MATARAZZO, SÃO PAULO, BR)

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PARA WALTER (2015 | PARA WALTER, LAGO ESCOBAR, AR)

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SCULPTURES

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CURRICULUM VITAE

ARTUR LESCHER | INNER LANDSCAPE PIERO ATCHUGARRY GALLERY - PUEBLO GARZÓN January 8th - April 10th 2016

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ENVIRONMENT, REMOVAL AND INFINITY

INNER LANDSCAPE

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(…) Site specificity is a way of working at ground zero.

As a desert practice, it presupposes attachment to the possibility of removal and infinity. The desert floor

According to Brian O’Doherty2, space now is not just where things happen: things make space happen. This observation is particularly true with regard to Artur Lescher and his unique research in which the work, which is usually large or very large in size, is what allows us to make new discoveries: his interventions, not always specific, are created by a sort of alchemical reaction with the places in which they are installed. If works of art always produce a re-reading of what an empty space represents, in this case, instead of reinterpreting the environment, his installations are generated by a gaze that is capable of overturning, resetting and recreating a place.

This operation, taken to the nth degree in site specific works such as those for the Atchugarry Gallery in Pueblo Garzón, originates from a transversal approach to the work and its use, to the construction of space and its stability, to the balance of volumes, to the transfer between interior and exterior, to the architecture as a natural form.

as foundation speaks to origins and geological timeles-

The premise: the environment

sness, simultaneously destroying and enforcing a sense

Anyone familiar with that part of Uruguay would say that it is a unique place where the elements have a more intense presence than elsewhere, particularly in terms of color and light.

The panorama is a dimension that tends towards infinity, as does time, which seems to expand in dilated rhythms that go well beyond the normal cycles. Here the gaze is inevitably horizontal, stretched and pushing far into the distance towards horizons that have never been seen or perceived.

The grandeur of the monumental nature found in Pueblo Garzòn – which has, by the same token, undergone few man-made interventions or transformations – is matched by the spectacular presence of the art that lives not only in the spaces of the gallery but also in the surrounding sculpture park: 54 acres of vegetation with eight imposing installations3. With its large windows, the gallery attempts to form a link with this context; it is a place to gather but also to look, to feel welcomed by and at the same time projected into nature: this was the starting point for Lescher’s work, the primary nature that crosses the exhibition space and the context in which it finds itself.

of human scale (…) 1

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Removal and infinity The ground zero upon which the artist has built Inner – Landscape is therefore that of a timeless and limitless geological, natural, landscape, environmental and visual nature, which imposes this rhythm and perception. With this in mind, he has structured an intervention in which his interest in (dis) proportion and suspensions is made immediately and powerfully clear: if, in general, his works communicate an idea of purity and balance on first impact and only gradually manifest an emergence of distortions and disturbing elements, for the Piero Atchugarry Gallery the artist has instead developed an architecture within the architecture, a wooden installation that runs the length of the room and connects the windows.

On entering, visitors first notice a partial obstacle, an irregularly but geometrically shaped structure, a collection of large suspended natural wooden boxes that drain the room of its stability. Moving into the open gap inside the tubes, things change dramatically. As soon as the viewer begins to pass through these strange elements, they become aware that something is about to happen and that these striking elements will offer him or her the chance to experience something fluid and entirely unexpected. The structures contain mirrors that reflect and expand nature even inside the gallery, making the relationship between the two worlds even more spectacular.

Thanks to the extraordinary setting, such a connection offers the opportunity to compete not against the work itself, but against the relationship triggered by the work, which is an invitation to the extended gaze and connection with the context mentioned above, showing the intrinsic value and aesthetic potential that can be produced by landscape in the everyday practice of looking.

den sphere and a steel cable; works that refer to the natural world reinterpreted magically, such as Inseto, a wooden and PVC object, or Linhad’Agua #1; even such unforgettable cycles as Metaméricos, Nexus #2 and Pantografica). This is what brings about the poetic and pictorial adventure that makes the visit unforgettable, leaving traces of memory by renewing a form of attention paid to looking intensely, like an experience that can never be neutral.

Elena Forin

Erika Suderburg, Writtenonthe West: HowtheLandGainedSite, in Space, Site, Intervention. SituatingInstallation Art, Erika Suderburg Editor, University of Minnesota Press / Minneapolis, London 2 Brian O’Doherty, Insidethe White Cube. L’ideologia dello spazio espositivo, Johan & Levi, 2012; p. 37.

3 Los artistas son Pablo Atchugarry (Uruguay, 1954), Daniel Papaleo (Argentina, 1968), Humberto Cazorla (Venezuela, 1953), Octavio Podestá (Uruguay, 1929), Diego Santurio (Uruguay, 1977), Luca Benites (Brasil, 1981),Verónica Vázquez (Uruguay, 1970), Peter Schwickerath (Alemania, 1942).

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Lescher’s operation is simple and it is precisely this that makes it majestic: with Inner – Landscape he reduces the elements to a minimum, allowing them to make their value as clear as possible in this absolute presentation. They also enter into a magical dialog with a rich selection of sculptures – two from the Dardo series;Floaçu, a delicate interplay between a woo-

INNER LANDSCAPE

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(…) Site specificity is a way of working at ground zero.

As a desert practice, it presupposes attachment to the possibility of removal and infinity. The desert floor as foundation speaks to origins and geological timelessness, simultaneously destroying and enforcing a sense of human scale (…) 1

El espacio, como señala Brian O’Doherty2, ya no es solo el lugar en el que suceden las cosas: las cosas hacen que el espacio suceda. Esta observación resulta especialmente acertada cuando se piensa en Artur Lescher y su peculiarcamino de investigación, en el que la obra, normalmente de grandes o grandísimas dimensiones, se convierte en un elemento que conduce a nuevos hallazgos: sus intervenciones, hayan sido o no concebidas para un lugar específico, surgen de una especie de relación alquímica con el lugardonde se encuentran. Y aunque las obras de arte siempre dan pie auna relectura de lo que representa un espacio vacío, en este caso, más que reinterpretar el entorno, las instalaciones de Leschernacen de una mirada capaz de transformar, reiniciary recrearel espacio.

Esta capacidad, que alcanza su enésima potencia en las obras sitespecific—como las que el artista ha realizado para la Piero Atchugarry Gallery de Pueblo Garzón—tienesu origen en un acercamiento transversal a la obra y a su disfrute, a la construcción del espacio y su estabilidad, al equilibrio de los volúmenes, a la interacción entre el espacio de dentro y el espacio de fuera, a la arquitectura concebida como una forma natural.

Punto de partida: el entorno Cualquiera que conozcaesta regiónde Uruguay sabe que se trata de un lugarúnico en el que la presencia de los elementos — especialmente la luz y el color — es más intensa que en otros sitios. Aquí el panorama es una dimensión que tiende al infinito, al igual que el tiempo, que parece expandirse en ritmos que se dilatan mucho más allá de los ciclos normales. En esta tierra la mirada es inevitablemente horizontal, se extiende y se alarga en la distanciahasta alcanzar horizontes nunca antes vistos ni percibidos.

A la grandiosidad de una naturaleza monumental y apenas alterada por la intervencióntransformadora del hombre,Pueblo Garzón añade la espectacular presencia del arte, que no solo se encuentra en los espacios de la galería, sino también en el parque de esculturas que la circunda: veintidós hectáreas de vegetación que albergan ocho grandiosas instalaciones3.

La galería, con sus amplios ventanales, busca eldiálogo con

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estecontexto;es un lugar idealpara reunirse pero también para mirar, para sentirse acogido y, al mismo tiempo, proyectado en la naturaleza; aquí fue dondeLeschercomenzó su trabajo, en esta naturaleza primordial que atraviesa el espacio expositivo y el entorno en el que se encuentra.

La eliminación y el infinito La zona ceroenla que el artista ha construido Inner – Landscpe es, por consiguiente, una naturaleza geológica, natural, paisajística, ambiental y visual, sin tiempo y sin límites, que impone su ritmo y su percepción. A partir de estos presupuestos Lescherha estructuradouna intervención en la que su interés por las (des)proporciones y las suspensiones se advierte de manera inmediata y poderosa: si, en general, sus obras causan una primera impresión de pureza y equilibrio, y solo despuésse desvelan gradualmente lasdistorsiones y elementos perturbadores, para la Piero AtchugarryGalleryel artista ha desarrollado una arquitectura dentro de la arquitectura, una instalación de madera que recorre la sala y conecta los ventanales. Lo primero que percibe el visitante esun obstáculo parcial, una estructura de forma irregular pero geométrica, un conjunto de grandes cajas suspendidas, realizadas en madera natural, que alteran la estabilidad de la sala. Sin embargo, al avanzar y cruzar la puerta que se abre en el interior de los túneles, la situación cambia sensiblemente;tan pronto como el espectador comienza a atravesar losextrañosespaciosse da cuenta de que algo está a punto de sucedery de que estos elementos impactantes van a darle laoportunidad de vivir una experiencia fluida y absolutamente inesperada. En efecto, en el interior de las estructuras hay unosespejos que reflejan y expanden la naturaleza también hacia el interior de la galería, haciendo aún más espectacular la conexiónentre los dos mundos. Gracias a lasingular escenografía del entorno, esta relaciónabre la posibilidad de confrontarse no yaconla obra en sí misma, sino más bien conlas relaciones que la obra crea, relacionesque son una invitación a mirar reposadamentey a establecer una comunicacióncon el entorno, y que ponen de manifiesto el valor intrínseco y el potencial estético que puede producir el paisaje

sobre el ejercicio cotidiano de la mirada.

La instalación de Lescheres sencilla y,por ello, majestuosa: enInner – Landscapeel artista ha realizado una presentación esencial reduciendo al mínimo los elementos para dotarlos desu máximo valor.Elementos que, además,establecen un diálogo mágico con unaespléndidaselección de esculturas: dos obras de la serie Dardo, una delicada interacción entre una esfera de madera y un cable de acero (Floaçu),una serie de trabajos que remiten al mundo natural reinterpretado de manera mágica (como Inseto, un objeto realizado en madera y PVC, o Linhad’Agua #1)y, finalmente, obras de ciclos fundamentalescomo Metaméricos, Nexus #2 o Pantografica. De aquí nace una aventura poética y pictórica que convierte la visita en una experiencia inolvidable y que deja su huella en la memoriatransformando la forma de mirar con atención, entendiendo la mirada como una experiencia que nunca, bajo ningún concepto,puede ser neutra.

Elena Forin

Erika Suderburg, Writtenonthe West: HowtheLandGainedSite, in Space, Site, Intervention. SituatingInstallation Art, Erika Suderburg Editor, University of Minnesota Press / Minneapolis, London 2 Brian O’Doherty, Insidethe White Cube. L’ideologia dello spazioe spositivo, Johan & Levi, 2012; p. 37.

3 Los artistas son Pablo Atchugarry (Uruguay, 1954), Daniel Papaleo (Argentina, 1968), Humberto Cazorla (Venezuela, 1953), Octavio Podestá (Uruguay, 1929), Diego Santurio (Uruguay, 1977), Luca Benites (Brasil, 1981), Verónica Vázquez (Uruguay, 1970), Peter Schwickerath (Alemania, 1942).

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PROJECT

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INNER LANDSCAPE Plan and exterior elevation Scale 1:100

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INNER LANDSCAPE Cross sections Scale 1:100

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INNER LANDSCAPE Side views of structure Scale 1:50

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INNER LANDSCAPE Cross sections and detail of structure Scale 1:50

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INNER LANDSCAPE Layers axonometry

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SE MOVENTE (1989 | MUSEU DE ARTE MODERNA, SÃO PAULO, BR)

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INABSCÊNCIA (2012 | PINACOTECA, SÃO PAULO, BR)

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LAUNDRY - LIQUID DESCONSTRUCTION (2014 | MADE BY BRAZILIANS, HOSPITAL MATARAZZO, SÃO PAULO, BR)

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PARA WALTER (2015 | LAGO ESCOBAR, AR)

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SCULPTURES

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SEM TÍTULO #90, 2016 STAINLESS STEEL AND STEEL WIRE 4,5 x 90 x 4,5 cm ED. 2/5

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BARBATANA #06, 2011 RESINE WITH AUTOMOTIVE PAINT 80 x 18 cm ED. 5/15

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LINHA D’AGUA #01, 2010 RESINE WITH AUTOMOTIVE PAINT 120 x 10 x 3 cm ED. 9/15

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ASA #03, 2008 RESINE WITH AUTOMOTIVE PAINT 94 x 23 x 6,5 cm ED. 2/15

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SEM TÍTULO, DA SÉRIE DARDO #03, 2013 BRASS 90 cm ED. 1/5 + 1 AP

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SEM TÍTULO, DA SÉRIE NEXUS #02, 2013 STAINLESS STEEL 48 SEGMENTS OF 10 x 2 cm ED. 4/5

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PÊNDULO #07, 2007 RESINE AND STEEL WIRE 200 x 30 cm ED. 2/5 + 1 AP

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SEM TÍTULO, DA SÉRIE METAMÉRICOS #05, 2010 WOOD AND BRASS 1 SEGMENT OF 220 cm + 3 SEGMENTS OF 40 cm ED. 1/5 + 2 AP

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PANTOGRÁFICA, 2015 WOOD AND BRASS 5 x 102 x 68,5 cm ED. 2/5 + 1 AP

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SEM TÍTULO, DA SÉRIE METAMÉRICOS #14, 2011 WOOD AND BRASS 4 SEGMENTS OF 40 x 2,5 x 2,5 cm ED. 5/5 + 2 AP

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CURVA, DA SÉRIE PANTOGRÁFICAS, 2013 WOOD AND BRASS 89 x 42 x 16 cm ED. 1/5 + 2 AP

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FLOAÇU, 2013 WOOD, STAINLESS STEEL AND ALUMINIUM ø 10 cm ED. 3/5 + 2 AP

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CURRICULUM VITAE

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ARTUR LESCHER

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Born in 1962 in São Paulo Lives and works in São Paulo Solo exhibitions 2016 Inner Landscape, Piero Atchugarry Gallery, Pueblo Garzón, Uruguay 2015 Afluentes, Galeria Nara Roesler, Rio de Janeiro, Brazil 2014 La Nostalgia Del Ingeniero, Corredor Cultural Roma Condesa, Mexico

2006 Instituto Tomie Ohtake, São Paulo, Brazil Galeria Ruth Benzacar, Buenos Aires, Argentina Paisagem Mínima, Galeria Nara Roesler, São Paulo, Brazil 2004 Instalação, MALBA, Buenos Aires, Argentina 2003 Espaço Ecco I e II, Brasília, Brazil

2013 Pensamento pantográfico, Galeria Nara Roesler, São Paulo, Brazil

2002 Elípticas, Galeria Nara Roesler, São Paulo, Brazil

2012 Inabsência, Pinacoteca do Estado de São Paulo, Brazil Galeria Del Paseo, Punta del Este, Uruguay

1998 Programa de Exposições 98 Centro Cultural São Paulo, São Paulo, Brazil Galeria Nara Roesler, São Paulo, Brazil

2011 Meta-métrico, Galeria OMR, Colonia Roma, Mexico

1993 Galeria André Millan, São Paulo, Brazil

2010 Rio Máquina, Galeria Nara Roesler, São Paulo, Brazil Metaméricos, Galeria Josee Bienvenue, New York, USA

1991 Esculturas, Galeria Millan, São Paulo, Brazil

2009 Rio Máquina, Galeria Anita Schwartz, Rio de Janeiro, Brazil

1990 Instalação, Paço Imperial do Rio de Janeiro, Rio de Janeiro, Brazil

2008 Metaméricos, Galeria Paulo Darzé, Salvador, Brazil Galeria Mariana Moura, Recife, Brazil Minimal Landscape, Alejandra Von Hartz Gallery, Miami, USA Galeria Blanca Soto, Madrid, Spain

1989 Instalação, MAM-SP, São Paulo, Brazil Projeto Macunaíma, FUNARTE, Rio de Janeiro, Brazil

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Group exhibitions 2015 Arte e a Ciência: nós entre os extremos, Instituto Tomie Ohtake, São Paulo, Brazil 2014 Cidade Poética, Sala de Arte Santander, São Paulo, Brasil Encuentros/tensiones: arte latinoamericano contemporâneo, Malba, Buenos Aires, Argentina The Circle Walked Casually, Deutsche Bank KunstHalle, Berlin, Germany O artista e a bola, OCA, São Paulo, Brazil New Dialogues: Group Exhibition, Alejandra von Hartz Gallery, Miami, USA El círculo caminaba tranquilo, Museu de Arte Moderno, Buenos Aires, Argentina Made by Brazilians, antigo Hospital Matarazzo, São Paulo, Brazil Cidade Poética, Sala de Arte Santander, São Paulo, Brazil Prática Portátil, Galeria Nara Roesler, São Paulo, Brazil Iberê Camargo: Século XXI, Fundação Iberê Camargo, Porto Alegre, Brazil.

2013 The circle walked casually, Deutsche Bank KunstHalle, Berlin, Germany Encuentros / tensiones: arte latinoamericano contemporáneo Colección Malba + comodatos, Museu de Arte Latinoamericano de Buenos Aires, Buenos Aires, Argentina Circuitos cruzados, Museu de Arte Moderna de São Paulo, Brazil 2010 20 anos do Programa de Exposições do CCSP, Centro Cultural São Paulo, São Paulo, Brasil Ponto de Equilíbrio, Instituto Tomie Ohtake, São Paulo, Brazil Paisagem Incompleta, Centro Cultural da Usiminas, Minas Gerais, Brazil 2009 Metafísica do Belo, Galeria Nara Roesler, São Paulo, Brazil Experimentando espaços, Museu da Casa Brazileira, São Paulo, Brazil Memorial Revisitado, 20 anos, Memorial da América Latina, São Paulo, Brazil 2008 Ano_01, Galeria Anita Schwartz, Rio de Janeiro, Brazil Limite Sud / South Limit, Centro de Exposiciones, Buenos Aires, Argentina Quase Líquido, Itaú Cultural, São Paulo, Brazil

2007 Mono#Cromáticos: Vertentes na Arte Contemporânea Brazileira, Galeria Mário Sequeira, Braga, Portugal 80|90 Modernos, Pós-modernos Etc., Instituto Tomie Ohtake, São Paulo, Brazil 2005 Discover Brazil, Ludwig Museum, Koblenz, Germany El Sutil vertigo del imagem, CCPE, Rosario, Argentina Quinta Bienal do Mercosul, Porto Alegre, Brazil Cromofagia, Galeria Nara Roesler, São Paulo, Brazil 10 anos de um novo MAM-SP: Antologia do Acervo, Museu de Arte Moderna, São Paulo, Brazil 2003 Contemporáneo 6, Malba, Buenos Aires, Argentina 2002 Centro Cultural São Paulo 20 anos, Centro Cultural São Paulo, Brazil Brasília ruína e utopia, Centro Cultural Banco do Brazil, Brasília, Brazil 25ª Bienal Internacional de São Paulo, São Paulo, Brazil Ares e Pensares, SESC Belenzinho, São Paulo, Brazil Matéria Prima, Novo Museu, Curitiba, Brazil 2001 Coletiva Artistas Art Chicago 2001, Galeria Nara Roesler, São Paulo, Brazil Côte à Côte, Art Contemporain du Brésil, capcMusée, Borde aux, França Rede de Tensão, Paço das Artes, São Paulo, Brazil 2000 Esculturas, Pinacoteca do Estado de São Paulo, São Paulo, Brazil Diálogo, Memorial da América Latina e Centro Cultural da Universidade Católica, Brazil e Equador O Lápis e o Papel, Galeria Nara Roesler, São Paulo, Brazil Homem, Natureza,Tecnologia, ICBRA, Berlim, Germany Brazil 500 anos Artes Visuais–Fundação Calouste Gulbenkian, Lisboa, Portugal 1999 Philips Eletromídia da Arte - Belo Horizonte, Belém, Campo Grande, Cuiabá, Manaus, Porto Alegre, Recife, Rio de Janeiro, Salvador, São Paulo, Campinas, Jundiaí, Osasco, Ribeirão Preto, Santos, São Vicente, Santo André, Brazil Alquimias e Processos Bilioteca Miguel Angel Arango, Bogotá, Colombia

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1998 Projeto Caminho do Mar, Centro Cultural Itaú, Campinas, Brazil Canibal, Paço das Artes, São Paulo, Brazil

1987 19¼ Bienal internacional de São Paulo, Pavilhão da Bienal, São Paulo, Brazil

1997 Coro para 14 vozes, Galeria Nara Roesler, São Paulo, Brazil Projetos Bienal, Espaço de Arte, São Paulo, Brazil

1986 Projeto Espacial Aerólito, Galeria Subdistrito, São Paulo, Brazil

1996 Nos Limites da Fotografia, SESC Pompeia, São Paulo, Brazil Metais e suas Liga-ações, SESC Pompeia, São Paulo, Brazil 1995 Objeto Gravado, Museu da Gravura, Curitiba, Brazil Entre o Desenho e a Escultura, MAM-SP, São Paulo, Brazil 1994 Artistas de São Paulo, Paço Imperial do Rio de Janeiro, Rio de Janeiro, Brazil Arte Cidade 2, São Paulo, Brazil Brazil Século XX, Fundação Bienal de São Paulo, São Paulo, Brazil Coletiva de Esculturas, Espaço Namour, São Paulo, Brazil 1993 Museu de Arte Contemporânea da universidade São Paulo, São Paulo, Brazil 1992 Exposição Centro Cultural São Paulo, Pavilhão da Bienal, São Paulo, Brazil Galeria André Millan, São Paulo, Brazil 1991 Panorama do Objeto Tridimensional, MAM-SP, São Paulo, Brazil 2¼ Exposição Internacional de escultura Efêmera, Fortaleza, Brazil 1990 Apropriações, Paço das Artes, São Paulo, Brazil Galeria do Colégio Major Universitário, Madrid, Spain 1989 11¼ Salão Nacional de Artes Plásticas, FUNARTE, Rio de Janeiro – prêmio Aquisição, Brazil Novos Valores da Arte Latino-Americana, Museu de Arte de Brasília, Brasília, Brazil Arte Contemporânea São Paulo, Perspectivas Recentes, Centro Cultural, São Paulo, Brazil Projeto Macunaíma, FUNARTE, Rio de Janeiro, Brazil

1985 E o Desenho?, Galeria Humberto, São Paulo, Brazil Salão Paulista de Arte Contemporânea, Pavilhão da Bienal, São Paulo, Brazil 1984 Salão de Gravura de Curitiba, Solar do Barão, Curitiba, Brazil Projeto Arte na Rua II, MAC, São Paulo, Brazil Public collections Biblioteca Luis Angel Arango – Bogotá, Colombia Centro Cultural São Paulo, São Paulo, Brazil Instituto Cultural Itaú, São Paulo, Brazil Instituto Nacional de Belas Artes, Rio de Janeiro, Brazil Museu de Arte Contemporânea – MAC-USP, São Paulo, Brazil Museu de Arte Latinoamericana de Buenos Aires, Buenos Aires, Argentina Museu de Arte Moderna de São Paulo, São Paulo, Brazil Museu Nacional de Belas Artes, Rio de Janeiro, Brazil Museum of Fine Arts, Huston, USA Philadelphia Museum of Art, Philadelphia, USA Pinacoteca do Estado de São Paulo, São Paulo, Brazil

Acknowledgments It is a great honor for the Piero Atchugarry gallery to have the opportunity to organize a show of the renowned Brazilian artist Artur Lescher. We thank all the people who helped us is this challenging site-specific exhibition.

Galeria Nara Roesler in São Paulo for their support and collaboration that has been fundamental to bring Lescher’s work to the Uruguayan public, we appreciate their involvement. Kátia Harumi Gondo of Estudio Artur Lescher that assisted us in several aspects of the show. Elena Forin, who specializes in contemporary art, for thoughtfully considered Artur’s work in her essay.

Piero Atchugarry