Located in a rejuvenated hangar of 1,500 m2, in the exclusive neighborhood of Santa Cecilia in Sao Paulo, Baró Galería opens its door in 2010, and since then, it has been consolidated as a model of contemporary art, opening an active participation in international markets y exhibiting a select group of Latin- American visual artists.
With the Spanish María Baró as director, the gallery has known how to generate a feedback between artists, curators, and collectors with artworks of specific location and curatorial projects, emphasizing artist from the 70s and 80s, not neglecting young talents, creating programs of residences and opening spaces for exhibitions, collectives as much as individuals with those artists who lead the way from avant-garde.
Iván Navarro (Chile, 1972,) visual artist resident in New York, led by the fluorescence and the neon’s incessant blinking fights against the irreversible. With interventions in the urban space, performances, and sculptures making clear that under the apparent electric transience, it is enhanced a man that suffers an affaire with life and sitting on the dock must give up to be another debtor lover of the love’s drug Viagra (2012.) Here, the mistakes of the desire take revenge, because as Sasha Grey says: “Everyone is animalistically sexual beings.” Nevertheless, Navarro ridicules with provocation with a warning light in this phallic installation. This is added to Relay: Surrender (2011,) series which he undermines jackets with the inscription FORGET, SURRENDER, and a video registry that accompanies the rounds, implying his round in this erratic existence.
Instead, Elena Damiani (Peru – 1979,) visual artist resident in London, channels his work about Earth. Enough reason to find signs in geology, archaeology, and cartography as elements that cohabit not just as part of her thematic map, but also as a manifest allusion to her academic training for architecture as much as art. Something that allows constructing a pattern to dismantle, decontextualize, and rearm cultural objects that, as she affirms: “… when released, they win a dormant ambiguity, and now they can shape roads and connections in out memory that will allow the observer to go deep in the meaning layers.” Attribute that can be appreciated in the superposition of a scenery, that due to its ductility in its materiality and interpretation, opens a dimensional window between the past, present, and future. Temporality that the artist fruitlessly pretends to retain through a constant conversion of shapes and in whose bottom appear the planetary worry expressed in a digital printing in silk muslin in La Serie de Cristal (2013.)
In a next scene Tulio Pinto appears (Brazil 1974,) who sees himself as a person that articulates worried about rescuing the sculptural potential and an inherent force of metal, concrete, and glass. Materials made available to balance, achieved through the rapport of the artist with the space created when warning the uncertain stability that each element has, getting along weights as much as densities, such as can be seen in Nadir # 14 (2016) and in a series of artworks in which an aware confrontation for make the observer unstable is made.
In Eduardo Stupía’s case (Argentina 1952,) we can see an artist that redefines the imaginary of the scenery from the predominance of black and white, and with own nature. Through this, he dramatically shows his control of the expression and matter going from pencil to charcoal pencil and from pastel to acrylic, spreading out a vertiginous play of plans, tones, and volumes.
In a different atmosphere, more radical and disruptive, we find Morís (1978,) visual artist that from Mexico makes a re- reading of the marginal culture of his country, where urban space is surrounded by a constant rivalry between the ones who hold the power and the ones that pretend to conquer the streets. Aspect from which he extract the base tools of a work that suppose a certain conceptual realism, reflect of the social inequities specified by the same rescued utensils from the atmosphere, but also in the message between lines, which is confirmed in Entierran esto en Otro Cuerpo (metal, plastic, and collage, 2013,) and in Lo que ti Digas Será Verdad (wood, ribbon, and collage, 2013,) extended to Cielo Roto III (wood and oil on canvas, 2013,) symbolic representation of the slanting dreams.
Parallel to the before mentioned, it appears the figure of Lourival Cuquinha (Brazil, a975,) visual artist that doesn’t skimp on efforts for showing misfortunes of the current society, monopolized by the capital and everything related as a pernicious consequence that plots against the individual, but, at the same time, mobilizes an artwork, giving a hand to the parody about the same individual victim –murdered and accomplice of the typical duality of “How much do you have = How worth are you.” Cuquinha doesn’t give up on that; on the contrary, he sharply expresses it in his Verdad de los Hechos (2016) with 5-cent copper coins and a graffiti on his wall that claims for political transparency in his country.