Luciana Lamothe

PLACE: CONTINGENCIES OF USE

Curator: Susana González

Artist: Patricia Esquivias, Luciana Lamothe & Sofía Táboas

22 June – 29 October 2017

The project Place: Contingencies of Use examines the work of three artists: Sofía Táboas, Patricia Esquivias and Luciana Lamothe, of Mexican nationality and Galician origin, Spanish and of Venezuelan origin, and Argentine, respectively. The thematic universe of the three artists’ projects will be developed within the sphere of the contemporary city and architecture, whilst the common denominator of the works presented will be the promotion of events which deal with different specific architectural environments. For this purpose, the works exhibited will correspond to a review of those produced in recent years along with the development of a specific project undertaken for the exhibition. Similarly, the aim of the exhibition is to provide a touch of the Latin American artistic scene as a fundamental component of current artistic dialogue.

Sofía Táboas, an active member of the nineteen-nineties Mexican art revival, proposes an object-oriented body of work related to Arte Povera and minimal art, the basis of which is her constant and continued interest in the investigation of concepts such as space and the landscape, as well as the relationship that exists between the natural and the artificial. Her artistic interventions reflect on perception, the transit of places and the different ways of inhabiting a space.

Patricia Esquivias focuses her interest on popular architecture, starting from the people and cultures that inhabit it, via personal stories and facts and through projects made up of informal essays, personal notes and short stories. Her work questions the role of the arts in the world of architecture, as well as artistic authorship, modernity and architecture as tools for collective construction.

The gestural tradition of Luciana Lamothe, resembling the aesthetic trends of the nineteen-nineties, poses a notion of public-industrial integration which dates back to the avant-garde precepts of constructivism. To this end, she highlights her intention to demand action on the part of the spectator, essential if the work is to take on another dimension, fulfilling its modernist imperative: form always follows function.