Inauguración RUIDO

Consuelo Gomez art work correspond to mental objects and formal interpretations of the useful thing, using metaphors that reveal the daily contents of her sculptural objects intended to have an inherent significance. Far from representing what raw reality meets the eye, her pieces wish to convey the spaces that are perceived through the senses, drawing from the repetition of distributed objects at various levels, but omitting a specific image. The organization of the parties suggests a timeless space where there is a historical record, but the moment itself corresponds to the mental processes, which creates an abstraction that then is only materialize through the work. The absence of objects is materialized from the perception of spaces of time and place, like going about a circle, where the ephemeral aspects of the atmospheres are constants. These items are intended to revive and renew certain forms of knowledge that deliberately have forgotten.

Ivan Castiblanco’s work has an archaeological quality to it, his constant necessity to investigate historical abandoned locations has lead him to elaborate a specific investigation on the forgotten memory. Where he constructs a dialogue based on the found objects he collects in this archaeological hunts. His great interest in children’s education can be observed on the way his work engages the spectator with his work. Creating a close relationship between the past and the present, where these particular objects have an intrinsic remembrance that lives in the collective memory of the community, as these objects with such magical significance, compel the spectator to travel in to the lost consciousness of a cultural society.

The pictorial work of Venuz White has an eloquently contemporary quality in its conceptions and implications. The artist express herself with painting but her canvases lack references in the history of styles, and even thought her purposes can be qualified as abstract in the procedure she uses, her images remind us immediately of an inner world, a biological one, in which like amplified cellular membranes, meticulously cover the total surface of the canvas. It can be said, that her work splits in two complementary directions, one in which her investigations mainly concern the behavior of color in acrylic painting, in reference to its essence and chemistry, and the other one in which imagination leads to a poetic approach of the unseen. As to metaphoric implications of her scientific inspiration, her work invites the viewer to make a voyage to the center, towards his inner self, as if announcing the chance of discovering, in the same way as traveling visually over the surface of her paintings -- an infinity of tiny universes, small cellular forms, all of them part of a harmonic and stimulating whole, however each one with its own particular life.

Ciudad's intention is to paint human beings in the city, as the iconic representation of a post cosmopolitan scene. No longer modern or postmodern, but advanced and contemporary, as she adds different layers of experience that are challenging reality. At the same time these layers displayed by Ciudad's particular pictorial approximation to space - radical as in street art, sophisticated as fine drawing - captures new elements for painting, demystifying with her presence as a young painter the so called "End of painting." Adriana Ciudad's new drawings and installation work is an aesthetic response of painting as a current medium in the context of contemporary art practices. Her work reshapes reality and perception through the performative aspects of her painting installations. The approach of the artist is contemporary also in theme, as the sites represented are iconic spaces where young people hang out. Ciudad likes to paint parties. It doesn't matter if it is from the electronic music scene in germany or the peruvian folk dancing scene. A nihilistic space,

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