RECORDIS
Galería Patricia Ready
2019 - 2022
Painting / Staged prothography / Installation
We grow accustomed to perceiving reality as a source of stimuli, of surprises. As information hunters, we become blind to silent, discreet things, including habitual, small, or common things,
which do not stimulate us, but which anchor us to being.
Byung-Chul Han, 2021, p. 11.
Nos acostumbramos a percibir la realidad como fuente de estímulos, de sorpresas. Como cazadores de información, nos volvemos ciegos para las cosas silenciosas, discretas, incluidas las habituales, las menudas o las comunes, que no nos estimulan, pero nos anclan en el ser.
Byung-Chul Han, 2021, p. 11.
Recordis. Exhibition view. 2022
Tableware with plums. Oil on wood cutouts. Dimensions variable. 2021
Oil paintings on paper and staged photographs. 2019 - 2021
Oil paintings on paper. 2019 - 2021
Himmelsblüten über dem gelben Haus. Oil on paper cutout. 3,8 x 4,4 cm. 2021
At last they came. Oil on paper and album page. 19 x 23 cm. 2019 / Enamel pitcher with flowers. Oil on wood cutouts. Dimensions variable. 2021
Vase with flowers. Oil on wood cutouts. Dimensions variable. 2021
Recordis. Exhibition view. 2022
Cuelga de greda sobre plato. Oil on wood cutouts. Dimensions variable. 2021
Chanchitos tres patas con tajines. Oil on wood cutouts. Dimensions variable. 2021
Loica. Oil on paper cutout. 5 x 3,3 cm. 2021
Until tomorrow III. Staged photograph, Giclée print. 90 x 60 cm. 2019 / All the walks. Oil on paper and album page. 19 x 23 cm. 2021
Porcelain dogs. Oil on wood cutouts. Dimensions variable. 2022
Briefmarke. Oil on paper cutout. 5 x 3 cm. 2019
Recordis. Exhibition view. 2022
Carpet. Oil on linen cutout fabric. 75 x 130 cm. 2019
Pear with ceramic vase. Oil on wood cutouts. Dimensions variable. 2021
Porcelain figurine. Oil on wood cutouts. Dimensions variable. 2021
Flores de Chile. Oil on paper cutout. 3,3 x 5 cm. 2021
Oil paintings on paper and cardboard. 2019 - 2021
Tiergarten Teller. Oil on cardboard constructed object. 20 x 20 cm. 2019
“Recordar” ─the Spanish word for “remembering”, which comes from the Latin re- (‘again’) and cordis (‘heart’), that is, “to pass through the heart again”─ is thekey concept that makes it possible to dissect what Recordis means. The latest exhibition by Chilean artist Andrea Breinbauer, is a complex proposal where a variety of voices coexist: staged photographs, pictorial objects and other paintings fashioned to resemble photos, invites us to reflect on memory, the issues ofrepresentation, and the narrative power of painting.
The exhibition affords an intimate and melancholy perspective thanks to the leading role of the evocative dimension of the images ─simulacra that make it possible to remember while also invoking the passage of time and geographical distances. The everyday objects used as references, together with the return to thecraft of painting, encourage us to reflect on contemporaneity, particularly with regard to the gradual dematerialization of the world in pursuit of digitalization.
Based on this conjunction of pieces on a variety of mediums, the artist constructs a large installation that invites the spectator to conduct a reading focused on thewhole as well as on each of its constituting elements, since all of them reference one another.
Recordar del latín recordis –re- (‘de nuevo’) y cordis (‘corazón’), es decir, “pasar de nuevo por el corazón”– es el título y el concepto clave que permite diseccionar el sentido de esta muestra. La presente exposición de la artista Andrea Breinbauer es una propuesta compleja en la que conviven obras realizadas sobre diversos soportes: fotografías escenificadas, objetos pictóricos y pinturas que simulan ser fotografías que invitan a reflexionar sobre la memoria, las problemáticas propias de la representación y el poder narrativo de la pintura.
La mirada de esta muestra es intimista y melancólica gracias al protagonismo que logra la dimensión evocativa de las imágenes, en tanto simulacros que permiten recordar y, a la vez, conjurar el paso del tiempo y las distancias geográficas. Los objetos cotidianos empleados como referentes, sumados al retorno al oficio de la pintura permiten pensar en la contemporaneidad, particularmente, en lo que respecta a la paulatina desmaterialización del mundo en pos de la digitalización.
A partir de la conjunción de obras realizadas sobre diversos soportes, la artista construye una gran instalación en la que el espectador es invitado a realizar una lectura centrada tanto en el conjunto como en cada uno de los elementos que la componen, pues todos ellos se referencian entre sí.