Max Estrella has the pleasure to present on September 14th the exhibition Subtle Oblivion by Hisae Ikenaga. In this first show by the artist at the gallery, her work of the last two years will be presented, produced under the auspices of the Pollock-Krasner Foundation grant.
After her recent exhibitions, Non-fonctionnel (Octave Cowbell, Metz, summer 2017) and her last show in Madrid Multifuncional/Colapso (Formato Cómodo, Madrid 2013), Hisae Ikenaga comes back to question the functionality of a series of objects, among which furniture abounds, to transform the different pieces and subject them to a new vision. Not accepting the established and suggesting other uses continues being the assertion of Ikenaga. This demand originates in the objectual but can extend to all that we are and all that surrounds us. Disconformity, imagination and a subtle humor keep characterizing her work.
A series of works made up from tubular metal chair fragments coming from a factory will be presented.
Said fragments are accompanied by laminated plywood and various found objects. The union of all of these parts, recycled and merged, generate pieces which evoque the wooden laminated tubular furniture popular in the 1970s and that were part of the artist’s generation’s childhood and adolescence.
This works do not only refer to those years, they also allude to new production methods like the ready to assemble and the race to reduce costs to which we are subjected. Ikenaga, nevertheless, does not stop in this discourse and offers a twist by working on the recycling of recycling, transforming the low cost into unique objects, in works of art and thus depriving them of utility. The artist unfolds the pieces on the wall, making them lose their tridimensional state and transforming them in sleek works that reminisces those created by American Minimalists where -as surprising details, as subtle oblivion- everyday objects peek, all of them related to installation, exhibitions, and art collecting.
Hisae Ikenaga (Mexico, 1977) studied at Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda
in Mexico City, broadening her education in the University of Art and Design of Kyoto. In 2003, she
studies a Masters Degree on Theory and Practice of Contemporary Visual Arts at the Fine Arts Faculty
of Universidad Complutense de Madrid. She has had solo exhibitions in Matadero (Madrid, 2011), La
Casa Encendida (Madrid 2009), Praxis International Art (New York, 2011) and has participated in shows
in Germany (Kreativquartiee, Munich, 2014), Mexico (Museo del Chopo, Mexico City, 2011), Hong Kong
(Para/Site Art Space, 2009), United States (Praxis Gallery, NY, 2008), Japan (Prinz Gallery, Kyoto, 2001),
She has received numerous awards, like the First Prize in Generación 2008, Obra Social, Caja Madrid,
Spain; Award in the I Bienal Azcapotzalco; the Foreign Studies Prize in Kyoto by CENART, 2000; and the
Pollock-Krasner Foundation Grant, Biella.
MIKEL R. NIETO
Max Estrella has the pleasure to launch Proyectos Estrella on September 14th with the work of sound artist Mikel R. Nieto.
Resilience is a concept used in psychology to describe the capacity of quickly recovering from difficulties and can also explain the ability of a substance or object to adapt with elasticity.
Resilience is, definitely, the ineffable quality which allows some people to get stronger after being defeated. Instead of letting failure overcome them, resilience drains its determination before failure, finding a way of rising up from its own ashes. Ironically this concept is used in businesses and multinationals to make their workers capable of withstanding adverse situations and able of continuing their production.
This installation consists solely of a crashed motorcycle used for fast-food deliveries. The red vehicle with a white box lays in the center of the room, which remains without illumination. The motorcycle’s blinker brightens the room with its intermittent light and generates a faltering faint sound.
This flickering sound can be interpreted as a heartbeat and also as a symbolic way to take the pulse of capitalism and its capacity of adaptation, or resilience, capable of promoting its mutation and continuity incorporating all knowledge for its own profit.
Mikel R. Nieto has studied Art in San Sebastián, Madrid and Barcelona. He has been immerse in the phonographic practice for years as well as the theory on which it depends. He has imparted workshops in culture centres and universities, and has participated in exhibition like Arte sonoro en España, 1961 - 2016, Fundación Juan March, Madrid, 2016; and Volumen, La Casa Encendida, Madrid, 2014. Nieto has contributed in radios, recently at MACBA’s with the work Sonido Intersticial (2017) and MNCARS with La Guerra (2013). He is part of the team of the Basque Country’s sound map, soiunmapa.net, and of Hots! Radio; and is the director, alongside José Luis Espejo and Xavier Erkizia, of El Observatorio de la escucha.
His last project, Dark Sound, published by German publishing house Gruenrekorder, describes the direct or indirect sound impact generated by the oil industry in its different phases of development both in towns and wild zones of Ecuador’s Amazon forest.