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“fragments” Half extracted or preserved, damaged or indifferent , on this case decontextualized and modified for the adoption of latest ideas. A language that Javier Martin has been researching and growing for greater than a decade, an extension of his “blindness” idea the place he explores by the appropriation of promoting pictures and icons, apparently excellent symbols of a regular of magnificence in up to date society, deconstructing these pictures to create a distinction between consumption and expertise.
In appropriation of fragments, Martin makes use of the area to create a dialogue between the person fragments and their collective composition that types the entire, remodeling the gallery right into a theater crammed with fragments, rep- resenting the knowledge overload of our time. A society created of fragments of data pushed by promoting, expertise and social media, questioning the veracity of what we acknowledge, by the usage of appropriation, reducing, alteration and reflection, accentuating their vacancy; together with the viewer within the scene and reworking them into part of the fragments that invite self-reflection.
This exhibition consists of three completely different physique of works, the place we will discover a journey that reveals the interdis- ciplinarity of the artist. From the set up Alma, a part of the everlasting assortment of the Seoul Museum, which consists of a dice lined with mirrors the place the viewer is mirrored by the appropriated pictures stamped on them and illuminated by neon, a fabric appropriated by Martin who thought of it a type of public writing, unassociated with artwork, and historically related to standard tradition.
He invitations the viewer to step right into a room the place he has conceptually eliminated the partitions, changing them with un- restricted mild and area. Eliminating the limitations society imposes, which fill our minds with banal and insignificant ideas, maintaining us trapped and unable to appreciate the potential that exists past.
In contraposition to the set up, the physique of labor “CUT” first introduced by the artist in Shanghai in 2015, a thought-provoking collection that challenges our preconceptions in regards to the energy of celeb and the best way we con- sume media. Creating iconic hand-cut images, method impressed by The Chinese language custom of paper reducing, giving significance to the usage of the unfavorable area and the contraposition between wholeness and vacancy.
Impressed by the fragments which can be remaining from the lower out works, Martin creates the set up that’s dis- tributed all through the gallery, fragments of pictures that signify remnants, unfinished parts which can be a basic a part of the language, these massive fragments leaning on the partitions, a format that presents the timeless, the non-sculptural in dialogue with the viewer, questioning the completed, the unfinished or the unique in trendy society, exploring how pictures form our perceptions of ourselves and the world.
The exhibition is on view at Ascaso Gallery in Miami by July 10, 2023.
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