Nora Fisch Gallery presents at Untitled Art Fair the works of two Argentine artists: Juan Tessi and Rosana Schoijett.
Juan Tessi (B. 1972) is considered one of the most relevant artists in Buenos Aires who is exploring the language of painting from an experimental standpoint. He approaches painting from a constantly shifting perspective, incorporating performative aspects (as in a series painted by following instructions from an 80’s video make‐up tutorial, which resulted in enigmatic abstractions); weaving into his works reflexions about museum practices which affect their existence (as in his 2016 solo show at MALBA —one of the main art institutions in Buenos Aires— where the paintings “lived” for a month in non‐exhibition spaces of the museum such as its parking lot or outdoor balconies while being observed by the museum’s surveillance cameras, before being installed in the proper exhibition gallery) or using pictorial elements as metaphors for the body and its impulses.
Tessi is interested in painting's adeptness to operate simultaneously as surface and object, utilising an array of processes spanning from industrial/technological methods to craft and back. His "Plexiglass Pieces”, which are exhibited at Untitled Art Fair, take apart the different elements that constitute a painting and rearrange them: raw linen, Gesso, a previously painted fragment which he calls a “skin”, as it has been peeled off from another surface. These paint "skins" are held onto the linen by the static produced by a plexiglass shape. This plexiglass, in turn, becomes a pictorial element in itself with characteristics unattainable by paint. His “Ceramic Pieces” rely on drawing and hand-made ceramics attached to the edges of canvas, transforming it into a literal body.
The results are intriguing, sophisticated works, which combine materials, processes, figurative or abstract elements, often having a minimalist aesthetic with a twist. Juan Tessi’s works have been shown at the Museum of Modern Art of Buenos Aires; Kbh Kunsthal_Centenniale, Copenhagen; Casa Triangulo, Sao Paulo, Brazil; Museum of Contemporary Art of Rosario, Argentina; Mercosul Biennial, among other venues.
Rosana Schoijett, has an established career as a photographer. In the collages we are bringing to the fair she revisits photography’s tradition by abandoning the use of the camera, focusing instead on already printed photography. Renouncing digital manipulation, she reclaims the materiality of the encounter with the photographic image. Her source material comes from vintage artistic photography books from decades ago, printed on rich velvety papers. She laboriously cuts the pages up by hand with a surgical knife and stitches the fragments together building rich surfaces with a slight three-dimensionality. Landscapes and art history were frequent subjects of such books, while the reference is still clearly recognisable, they now appear as unexpected, surreal constructions.
Schoijett is interested in the book as fetish and in a method of production that deliberately ignores the digital realm. She frames her collages in hinged two to five-panel constructions, clear glass on both sides, which refer back to the notion of a page in a book. She is also compelled to revisit the long standing tradition, from surrealism to neo-conceptualism, of women artists making collages.
Schoijett has been exhibiting since 1989, in venues such as MALBA, Museum of Latin American Art of Buenos Aires; Museum of Modern Art of Buenos Aires; National Museum of Fine Arts of Argentina; Proa Foundation; Winzavod Centre for Contemporary Art, Moscow; Le 19 CRAC Centre Cultural Montbeliard, France; Centro Fotográfico Manuel Alvarez Bravo, México; Solo Projects ARCO Madrid, among others.