Guillermo Kuitca


From: 2002-04-16
To: 2002-05-31


Galleria Cardi & Co. is pleased to announce Guillermo Kuitca’s solo exhibition. Kuitca’s works are based, above all, on the architecture of public places and representational systems like mapping and charting. Through this imagery, Kuitca explores moments of connection or separation in human existence by focusing on spaces in which the individual as well as the communal experience interact, and personal and collective memory are exchanged. His variations of house plans, city maps, genealogical charts and theaters, blur distinctions between absence and presence, past and present, fiction and reality, considering with great subtlety and power the volatile places where the exceedingly private and intensely public nature of human existence clash and converge. The maps shown in this exhibition evoke images of mostly unspecified places: anyone armed with an atlas could deduce what places these are, although in certain cases Kuitca ‘doctors’ the map, substituting names to suit his whimsy. That’s why it is best not to place too great a significance on exactly where these places are. These maps are fairly anonymous, they’re mechanical projections of the world. Nevertheless, Kuitca’s world view comes to bear in them as well; they’re very hand-painted in spite of looking so perfect. Kuitca is on a pilgrimage to all over the world (this echoes the all over painting style he employs), he’s definitely not local. Sometimes the same city name is repeated over and over suggesting the inescapable nature of certain places; other times he paints on beds in order to re-integrate the phantasmagoric role they always play in his works. It’s the case, for instance, of the Beds series: this paintings are like lists naming places and experiences, putting the world at your fingertips. Beside these maps there are works from the recent series Puro Teatro, where Kuitca returns to theater as a real subject, trying to radicalize more and more the relationship between the audience, the artist and his work. In these works, the theatrical components found their place within the architectural structure and not so much in the dramatic action that happened in the space. Kuitca decides to change perspective abruptly inverting the typical Baroque vision of a huge stage: rather than indicating the audience’s point of view to the stage, Kuitca reveals the actors’ point of view towards the audience. In the end, the description of the technical transfer of pictures would find its inverted double in L’Encyclopédie paintings, where a series of prints reproduces architectural structures from Diderot’s L’Encyclopédie. The pictorial quality of these works relies entirely on its model; in Marble Flooring Plan of a Salon in the palace of the Marquis De Spinola, Genova, for example, the image of the monument drawn by his assistants has the technical rigour of a XVIII century documentary print. Kuitca deconstructs: he proposes the drawing, then he denies it. He soaks the canvas, he evaluates the strength of the water jet, he checks the quantity of water, foresees and controls its flow, he calculates, he glimpses, he sees; then he lays the canvas on the floor. A stronger and closer water jet creates a deeper dissolution of the drawing. Kuitca introduces the absence of colour, he paints with a pigmentless colour, he paints with pure water.

© Galleria Cardi