Nicanor Aráoz (Buenos Aires, 1981) produces objects, installations and sculptures using as reference images from comics, imagery from the Internet and romantic mythologies taken from gothic art. In his works, procedures involving the making of a surrealistic object, such as the assembly of dissimilar elements and a oneiric component, take on frantic forms resembling nightmares where pleasure and pain seem to merge. Aráoz uses materials as if they were to expiate sadistic sensations and takes them to the utmost limits of expressivity and torsion. In narrative scenes, he mixes plaster monsters, amorphous masses of resin, trainers, neon lights and biscuits with embalmed cats, mice and birds, thus shaping a world of emotional psychedelics with visual references to the domestic environment of an adolescent.
His latest works include Because I am never what I have (The Emily Harvey Foundation, New York, 2017); Antología genética (Universidad Torcuato Di Tella, Buenos Aires, 2016); Glótica (Barro, Buenos Aires, 2015); IMNXTC (Museo de Arte Moderno de Buenos Aires, 2013). Aráoz has received a scholarship from ISCP (International Studio & Curatorial Program, New York) where he studied for three months during 2017.
[...] The construction of Gothic environments can be envisioned as an obsessive insistence that has gradually perfected Nicanor Aráoz’s art. That energy is a form of imagination that operates by exacerbating the tensions that organize the real: its expressive language is the symptomatic torment produced by the historical and hysterical antagonisms between good and evil, the healthy and the sick, the sanctioned and the perverse, crime and law, the repressive control of forms and the monstrous abundance of the deformed.
24.10.2018 For the work of art to be a transforming agent, the ability of analysis and interpretation has to exist. In this exhibition, Mónica Giron formalizes the different methodologies she applies to refine perception and acquire knowledge both in her life and in her work production as well as in her practice in the artist formation area. Until December 15th
20.10.2018 Decomiso is an installation-based exhibition by the Argentinian contemporary artist duo Guillermo Faivovich & Nicolas Goldberg.
12.09.2018 PRIVILEGE is present at ORGAN VIDA. International Photograpy Festival. Museum of Contemporary Art, Zagreb, Croatia.
25.08.2018 ARTISTS: Mónica Giron / Nicolás Gullotta / Irene Kopelman / Alfredo Londaibere / Marcelo Pombo / Alejandra Sebeer / Amalia Ulman / Agustina Woodgate. CURATOR: Sonia Becce
01.08.2018 The international program of artist residencies of Inclusartiz Institute aims to invite artists, writers, intellectuals and/or trustees international, to spend a season in Rio de Janeiro doing research and making new work.
14.07.2018 Gabriel Chaile, 70 veces 7, 2018. Instalation Site Specific. Irons and bricks, 300 x 330 x 300 cm. Colección Fundación Tres Pinos. MARCO–Museo de Arte Contemporáneo de La Boca
12.06.2018 [...] There is a phenomenon that science still has not been able to explain called crown shyness. Certain species of trees’ branches grow close but never graze each other. As if they could communicate, each tree establishes the margins of its own space, its own territory. Verónica Flom for Los días.
25.05.2018 Buenos Aires, Argentina. The gallery includes works by Nicanor Aráoz, Joaquín Boz, Nicola Costantino, Matías Duville, Mondongo, Alejandra Seeber, Amalia Ulman and Agustina Woodgate in the main section of the fair. And is involved with CABINET by Marcelo Pombo.
24.05.2018 Red Sunset, 2018. Sanguine on paper, 100 x 70 cm. Matias Duville is part of the collection of the Museum of Latin American Art (MOLAA), Long Beach, USA.
13.05.2018 As a closing exhibition of his BAR project residency. The seduction of the innocents displays a new essay of Martin Legón. This work, mix between anthropology, poetry, and sociology of the media, breaks down the paradoxical place occupied by the artistic object today.