Ceramics have once again emerged as a renewed and polysemic form of plastic expression within the artistic panorama. His language is the fundamental basis of ‘Entremedias / In Between’, by Hisae Ikenaga (1977). This exhibition project with recent work uses the medium to reflect and personally question different aspects related to the syntax of ceramics: its own nature, its historical evolution and development, its formal appearance, its procedural and technical mechanics, its appearance and perception, and even its functional purpose. Standard Related News Yes REVIEW OF: ’25 Figures of Lament and Restitution’, by Manu Arregui in Espacio Mínimo: It is not what you see Fernando Castro Flórez standard Yes Victory in three rounds by Matt Mullican Francisco CarpioThe work of this artist, Mexican by birth but with roots in oriental culture, focuses largely on the decontextualization of certain objects that, after a process of intervention, acquire new readings and meanings, within a clearly Duchampian genealogy. These are very recognizable object elements: furniture, prefabricated elements, books (I remember the first ‘Generations’ prize in 2008), etc., which belong to the sphere of our daily life and which show us with an aura of estrangement, as if imbued by another way of being perceived and observed, which causes an effect of confusion and doubt, a perceptual territory that is torn between what we know and what we do not know, between the world of reason and that of the senses, in definitive, in a space ‘In Between / Entremedias…’. Halfway. In the images, different proposals from ‘In Between / Entre medias’, such as the ‘Halves’ series G. Max Estrella The exhibition at the Max Estrella gallery includes a series of works, all involving certain ceramic materials and processes, which usually group in series. This is the case of ‘Industrial visceral’, three pieces that refer to a unique dialogue between ceramic elements, endowed with a high organic temperature, and other more industrial materials such as glass, or metal and wooden structures. In my opinion, one of the successes of his proposal is to create a disturbing confrontation between the rational and the emotional. ‘Artichoke Flower’ is possibly the most ambitious piece in Hikenaga’s quote. It represents large ceramic forms that offer the peculiar characteristic of being sectioned in half, consciously nullifying their functional purpose as containers, which at the same time gives them a more sculptural than utilitarian will. Art versus Design.arte_abc_0724 However, they are too decorative. That is why I prefer another work with a similar process, ‘Red Column’, on the ground, which shows the almost epidermal and sensual nudity of clay in a purer and minimal way. Hisae Ikenaga ‘Entremedias / In Between’. Max Estrella Gallery. Madrid. C/ Santo Tomé, 6. Until February 12 The latest proposal, ‘Halves’ (Halves), affects this denial of the functionality of the ceramic object by presenting an attractive wall installation with a large number of these ‘incomplete’ pieces, forming a kind of enamelled clay language.
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