Marcelo Pombo (Buenos Aires, 1959) is a reference figure in the radical art that emerged in the 1990s at the “Centro Cultural Rojas.” The appearance of an aesthetic removed from hard conceptualism stimulated theoretical debate on categories like kitsch, light, banal, pink and gay. Pombo used pop icons such as juice cartons and other ready-madeitems of everyday consumption. He carried out interventions on them both psychodelically and ornamentally with drops of enamel, bows and accessories imitating jewellery. He thus ironically highlighted the relationship between art and handicrafts, and vulgarity-luxury, questioning the legitimisation implied by value in art. In his paintings space is represented as a scenography of superimposed planes, a modality that links him to the iconographic tradition of Argentine landscapes.
His most recent exhibitions include Marcelo Pombo, un artista del pueblo (Colección de Arte Amalia Lacroze de Fortabat, 2015), Los duendes del campo decoraron el patrimonio durante la noche (Museo de Arte Contemporáneo de la Universidad Nacional del Litoral, 2013), Mi primera exposición en Galería Witcomb, (Castagnino-Roldán, 2012).
Marcelo Pombo presents a series of showcases and two pieces of sackcloth, which he uses to associate concrete art, informalism, craftsmanship and terrestrial aspects (represented by mud).
22.07.2017 The body without organs (BwO) is something that can be constructed, fabricated according to an excercise of experimentation that consists in taking our body and opening it to a countless number of potential connections. It is possible to approach Martín Legón’s “Nuevos pensamientos imbéciles” with this deleuzian notion in mind. Because what is exhibited in Barro is the skeleton of a body (of art) without organs. An unique body, dismembered, presented in rigid strucutres and shapeless forms as if it were an art fair.
05.07.2017 HOME — So Different, So Appealing at LOS ANGELES COUNTY MUSEUM OF ART features U.S. Latino and Latin American artists who have used the deceptively simple idea of "home". Through October 15th. Mondongo, Políptico de Buenos Aires, 2014–2016 ( 431 x 341 x 10 cms)
25.05.2017 Like in most of her artworks, there's a narrative element in Amalia Ulman's latest installation. Here, the spectator -or user- becomes part of the piece by wandering through the dream-like environments that are the rooms which compose the labyrinthine structure of Intolerance.
24.05.2017 Buenos Aires, Argentina. Hipódromo de Palermo. In the first edition of the fair, Nani Lamarque takes part in the Solo Projects section.
23.05.2017 Buenos Aires, Argentina. The gallery includes works by Nicanor Aráoz, Diego Bianchi, Joaquín Boz, Matías Duville, Mondongo and Agustina Woodgate in the main section of the fair. And is involved with special projects, CABINET by Mónica Girón and DIXIT SPACE whit Mónica Girón, Alejandra Seeber.
21.05.2017 AGENDA is Amalia Ulman’s latest performative conference. It is comprised of a PowerPoint presentation, and a live performance with sound effects. It exposes the final narrative of the online performance Privilege.
18.05.2017 "Yves y yo" by Alejandra Seeber at Espacio Contemporáneo. Yves Klein Retrospectiva at Fundación Proa. Through July 31th
22.04.2017 In El presente está encantador (The enchanting now), Bianchi draws energy from that collection to transform it into a great work of his own that also includes pieces by Alberto Heredia, Enio Iommi, Aldo Paparella, Ruben Santantonín, Emilio Renart, to name a few.Through August 6
21.04.2017 Pop Up is the first event organized by Barro in New York and that will feature painting, sculpture, actions, live music, and texts.
19.04.2017 Published by the Library Council of The Museum of Modern Art, The Valise, is a collective artists’ project, unites seven South American artists—Johanna Calle, Mateo López and Nicolás Paris, Maria Laet, Rosângela Rennó, Matías Duville, and Christian Vinck Henriquez—with the Argentine writer César Aira. Through June 4