Recently Federico Luger has got associated with Alberto Torri (amt_project, Bratislava) to expand and reinforce their operativity and international representation under the umbrella of FL GALLERY.
For ZONAMACO 2018 the gallery will present a booth which unites the works of four artists: Attila Szűcs, José Antonio Hernández-Díez, Igor Eskinja and Bruna Esposito, whose works harmoniously coexist together and create a narrative of the contemporary art today.
About the artists:
Igor Eskinja constructs his architectonics of perception as ensembles of modesty and elegance. The artist “performs” the objects and situations, catching them in their intimate and silent transition from two-dimensional to three-dimensional formal appearance. He is widely known for a usage of simple, unexpensive materials, such as adhesive tape or electric cables and unraveling them with extreme precision and mathematical exactitude within strict spatial parameters. Doing this, Eskinja defines another quality that goes beyond physical aspects and enters the registers of the imaginative and the imperceptible. The simplicity of form is an aesthetic quality that opens up a possibility for manipulating a meaning. It derives, as the artist states, from the need for one form to contain various meanings and levels of reading within itself. His works can be found in many museums around the world and is mostly working in photography and installation.
Bruna Esposito was born in Rome in 1960, where she lives and works now.
She is best known for the use of miscellaneous materials, often linked with everyday life and alchemy, poetically working on and involving many different levels of perception. Full recognition came to her in the form of a Golden Lion that she was jointly awarded for a non-existent national Pavilion entitled “dAPERTutto” curated by Harald Szeemann at the 1999 Venice Biennial. A talented and sensitive artist, she is working in diverse media, such as painting, sculpture, photography and installation, constantly experimenting with her style. Among her solo exhibitions are worth mentioning: Clocktower P.S.1 New York in 1999, Museo d’Arte Contemporanea del Castello di Rivoli in 2002 and, also that year, Castel Sant’Elmo in Naples. In 2017 the works from the exhibition “davvero/truly” entered in the permanent collection of the MAXXI Museum in Rome and took part in the exhibition “Intuition” in Palazzo Fortuny, Venice. Biennali, Triennali and
Attila Szucs was born in Miskolc, Hungary in 1967.
Since 1981 he lives and works in Budapest.
Since the early 90’s Attila has been making traditional oil-canvas paintings. As a start-ing point, he often uses media images, newspaper cut-outs, postcards, film-stills. When painting, he concentrates on such high density moments, when our everyday experiences and viewing practices become obsolete while decoding. He creates empty spaces around the objects of thoughts and figures without defining them in a preconceived notion. It is the distance and the concentrated attention on absence that rules his relationship with painting. What he is most interested in is the search of interpretation of knowing and not knowing, the way they are able to extinguish one another. He collects inspiration from the rubbish of collective memory, which He then re-interprets through the reality of painting.
osé Antonio Hernández-Díez is a Venezuelan-born artist who works with sculpture, photography and installation art. His work has been included in numerous exhibitions, including the 2003 Venice Bienniale and the 1999 Carnegie International. Since 1991, He has had solo exhibitions of his work in São Paulo, New York City, Madrid and Barcelona, among many others. Hernández-Díez also had a major retrospective exhibition that travelled to a number of museums including the New Museum in New York City, SITE Santa Fe and others. Hernández-Díez is part of a new generation of Venezuelan artists who emerged in the late 1980s. He uses “street” materials in order to develop a personal iconography centered on familiar, often domestic, objects. The ordinary is made extraordinary through Hernández- Díez’s provocative, darkly humorous use of material and scale. Elements from his Venezuelan childhood are combined with those that reference a more global pop culture.