Five artists and a common thread

The Argentinian Mónica Millán, Nora Correas, Anahí Cáceres, Florencia Sadir and the Peruvian Chonon Bensho address issues of ecology through a dream treatment.

Until January 26 at the new W Gallery, in San Telmo.

Mainly around the earth and the threats that stalk it, ancestral knowledge and the dystopian world, the five exhibitions that correspond to the semiannual programming of the brand new headquarters of the W gallery, in San Telmo, revolve. Displayed on the three floors of the building built with the purpose of housing the Helft collection in the 1980s, and also outside, whose stepped garden was designed by Gonzalo Etchegorry.

When touring the space, a possible connection arises between Anahí Cáceres and Nora Correas, who share a period reference, with pieces located more than thirty years ago. And if with Tree of Water, the first of them, curated by Sebastián Vidal Mackinson, she returns to the linguistic and anthropological study that she carried out in Temuco, Chile, extensive to her interest in rituals, through the digital art that she pioneered in Argentina, Correas – under the curatorship of Florencia Qualina – does the same with Slow Forebodings, Clear Hallucinations, where the group of works Cota, Capa, Casa, Cosa, made with glass, iron, reeds and wood, is in charge of the question of the future, then revisited in the corsets made of cement and sand.
Geometry of Smoke, the open-air installation by Florencia Sadir from Salta, curated by Andrei Fernández, is added. A habitat built from fired ceramic modules, intervened with writings and other features, which make up a poetics where the conversation takes place between that assembly, the current landscape and the one that the artist brings together.

The works of Chonon Bensho stand out, which is being presented with an exhibition of the same name, which can be related to Baroque Ao po'i, the creations of the missionary Mónica Millán. Both artists agree in privileging embroidered pieces, making visible the knowledge transmitted from generation to generation – hybridized with formal academic education – and observing nature as a theme, either from contemplation, in the rereading of other representations or through a dreamlike approach. . Added to this is the allusion to time relative to doing and that which transcends through the rescue of the knowledge of yesteryear, as an artisanal response to the present ecological catastrophe and why not to the nearest future.

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Five artists and a common thread