Adri\u00e1n S. Bar\u00e1: Estructuras de la raz\u00f3n\r\nJune 14, 2019 | August 16, 2019<\/h2>\r\n

Opening: Thursday, June 14, 2019, 8:00 pm<\/h3>\r\nP\u00e1ramo is pleased to present\u00a0Estructuras de la raz\u00f3n<\/i>, a solo exhibition by Adri\u00e1n S. Bar\u00e1.\r\n\r\nEstructuras de la raz\u00f3n<\/i>\u00a0furthers Bara\u00b4s ongoing project and research based on the artist\u00b4s interest in the effects of standardized international architecture on the body and the senses. Comprised exclusively of a new production of works that includes painting, drawing, collage, installation, sculpture, and video, Bar\u00e1 proposes a deconstruction of the urban environment to explore the structures that shape daily life. At the same time, Bar\u00e1\u00b4s tactile oeuvre creates a sharp critical commentary on the detrimental historical predominance of a vision centered interpretation of knowledge, truth, and reality.\r\n\r\nBar\u00e1\u00b4s exhibition produces an immersive experience through the inclusion of sculptures and installations that contains staple materials used in the construction of today\u2019s cities, including concrete, structural steel studs, and sheetrock, to provide evidence on how this type of buildings sets out its main interests without examining the impact it generates on society, identity, and body. Bar\u00e1 reveals how this type of architecture that is built quickly with cheap and easy to export materials to all parts of the world diminishes our social capacity, empathy, and participation with each other, and isolates us from reality with its tendency to standardize all.\r\n\r\nThe visual display of this exhibition is manifold. The artist fusion of cutouts and printouts from architecture magazines and books intermingled with corporal structures and construction objects highlights how, since the classical Greek, the hegemony of vision has been reinforced, both in aesthetics and speech. As well, the artist\u00b4s constant use of a white color palette on structures, collages, paintings, and sculptures references the denial of the essence and age of the materials in standardized international architecture, to reflect our rejection and fear of death.\r\n\r\nIn contrast to this view, Bar\u00e1 confronts the viewer with an intended raw aesthetic, while transforming construction materials into complex narratives. The presence of the artist\u00b4s body imprints on clay blocks, cement sculptures, and the evidence of physical drawings on the wall, combined with the smell of wet pavement, and the disruptive existence of an unfinished concrete wall embraces visitors to question the authoritarianism of reason, the state of alienation disconnected from our own bodies and acceptance of decay.\r\n

About the artist<\/h3>\r\nAdrian S. Bar\u00e1\u2019s (b.1982, Mexico City) practice, at its core, explores the body and its relation to space and modern architecture, as well as its representation at the intersection between sculpture, installation, painting, and video. The artist\u2019s training as a filmmaker drives his narrative\u2014pulling in from daily materials and positions to construct \u2018sculpted situations\u2019 that are meant to be activated by viewers as they project their own accounts into the objects that invite them to do so. Bar\u00e1\u00b4s artwork often functions as archival traces of personal events\u2014as stories that are meant to be intervened, challenged, and transformed through acts of looking.\r\n\r\nBar\u00e1 has held solo and two-person exhibitions including the ongoing project and exhibition\u00a0Estructuras de la raz\u00f3n<\/i>, P\u00e1ramo, Guadalajara, Mexico (2019) and ArtCenter \/ South Florida in Miami, USA (2017);\u00a0Adri\u00e1n S. Bar\u00e1 and Florian Schmidt<\/i>, Johannes Vogt, New York, USA (2017);\u00a0Aesthetics of a Collapsed System<\/i>, Casa Pedregal, Mexico City (2016);\u00a0Le Palais<\/i>, P\u00e1ramo, Guadalajara, Mexico (2015). Selected group exhibitions include\u00a0Almost Solid Light: New Work from Mexico<\/i>, Paul Kasmin, NY, USA (2018);\u00a0Tinnitus y Fosfenos<\/i>, Zapopan Art Museum, Zapopan, Mexico (2014); and\u00a0Everything Must Go<\/i>, Casey Kaplan Gallery, New York, USA (2011).\r\n\r\nIn 2019, Bar\u00e1 was an artist-in-residence at PIV\u00d4 Research, S\u00e3o Paulo, Brazil, and in 2016 at the International Studio & Curatorial Program (ISCP) in New York, USA.\r\n\r\nThe artist\u2019s work as director of photography for films includes\u00a0The Weekend Sailor<\/i>\u00a0(2016), Madrid International Film Festival award for best cinematography, and\u00a0The Solitude of Memory<\/i>\u00a0(2014), included in Le Festival de Cannes 2015, and winner of the jury Award for Documentary Short at the Slamdance Film Festival.\r\n\r\nWork by the artist is held in private collections worldwide, including the Space Collection, Irvine, California, USA; Luciano Benetton Collection, Italy; Suro Collection, Guadalajara, Mexico, and Di\u00e9resis Collection, Guadalajara, Mexico.\r\n\r\nFor further information, please contact: media@paramogaleria.com \/ +52 33 3825 0921.\r\n\r\nPress enquiries:\u00a0media@paramogaleria.com \/ +52 33 3825 0921.\r\n\r\nP\u00e1ramo would like to extend its gratitude to Tequila 1800 Cristalino, Club de Costa and Cerveza Minerva for their collaborative support.\r\n\r\nTAGS: #AdrianSBara #Estructurasdelarazon #Paramo <\/div>\n<\/div>\n\t <\/div>\n\t \t<\/div>\n\t\t <\/div>\n\t \n\t<\/div>\n\t\n\t<\/div>\n","protected":false},"excerpt":{"rendered":"

June 14, 2019 | August 16, 2019<\/p>\n","protected":false},"author":2,"featured_media":1149,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[],"class_list":["post-1505","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-press-releases","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author",""],"yoast_head":"\n