The phrase that is exposed at the top of this post can serve as abstract art created by Franco Donati Rosario, Argentina, 1979) and Santi Carbonari (Rosario, Argentina, 1983), belonging to the duo Artefacto (Artifact in English), since that work together to perform their individual and successful works. Despite his Argentine origin, are currently working in Spain, specifically in Madrid. The Fresh Gallery, located in the city, hosted an exhibition of these two boys during December 2013 and January 2014 he was called Wonders (Maravillas, in Spanish). A good synthesis of the work of Artefacto. The above gallery also sells numerous works of artists. Similarly, in his official website can be purchased numerous works.
One purpose of these young people is to provide different images that, despite the absurdity, always remember the human being: the center of everything. However, his critics, since artifact works are characterized in most cases by the banality and hypocrisy: very distinctive traits also of the upper classes. Although tremendous defects actually issues these Argentine invite demonstrate that the lives is a kind of theater or circus where you'' dress'' or overact, and where there is no freedom, because people is also very slave of her appearance and what others think of her, which tremendously affects their way of being.
''The cocodrila'', mixed-media printed in French porcelain dish. Artefacto (2013).
In ''The cocodrila'', for example, a large frivolous shown; lust for staying young and florid. The beauty, something that was highly esteemed during various times of the Art History, is now ridiculed with the body of this ''cocodrila'', wrapped in robes of nobility, made-up ad nauseum and topped by a veil and floral ornaments which recalls that ''art'' perfects nature. ''The cocodrila'' is an excellent parody of a woman concerned about her appearance, which returns to the idea of ''being slave appearance''. But now appears transformed into a beast. The choice of animal for crocodile representation is something that does not go unnoticed. The reptile, characterized by archaic features, with head, body and tail robust, hard skin at the same flaky and irregular teeth sizes may not be within the canon of beauty to which we are accustomed, especially in the West. However, the ornate crocodile, like the one shown in this dish already existed in Ancient Egypt. The Sobek, governor of the Nile River god symbolized as this beast was wearing jewelry in order to worship. The crocodile, in this civilization, was associated with fertility and growth, characteristic features of running water in general, that is their habitat. Thus, although the crocodile out, or even be revered in other towns, in our culture it is customary to understand it as a wild, strong, unpredictable and cunning creature, which has to do with the darkness of the murky water, and therefore with danger and what is not understood. Taking this rather terrible image, is used to replace a crocodile smug young advocates beauty.
''Flamingos'', mixed-media printed in French porcelain dish. Artefacto (2013).
''The cocodrila'', other hand, is no exception in the constant figuration of nature that hits Artefacto. However, it is not so much the nature as a theme, but also so you can appreciate, as expressed ''Flamingos'', and even ''Artificial deer'', quoted below. It is rather an artificial, abundant and even idealized nature, particularly tropical nature that usually adorn the stages of most of the compositions, at the same time the theater curtains in various colors. It is the blend of nature and the wild with the human and cultural; this serves to harmonize the two worlds, so different and yet so inevitably interconnected.
The fact that nature and man unite in scenery Artefacto suggests that they should also merge the characters that populate it. And ultimately, that's right. The teriomorfos characters that bring to mind the gods of the first civilizations lead many of the compositions, such as ''The cocodrila''. This is intended to reflect the instinct and irrationality of man and its link with the primeval environment.
''The queen of apes'',''Lioness queen'' and ''The queen of the birds'',
mixed-media print on tile. Artefacto (2013).
Through compositions like ''The queen of apes'' and'' Lioness queen'' shown the above characters with human body and animals face. Although also evident in them,''The queen of the birds'' evidence further ease the use of the'' Madonna and Child'', by the miniaturist Jean Fouquet (1450); this translates into the use of prior art works more or less recognized. This phenomenon linked in some way with the kitsch art. But in this case it is not, for example, a ''Madonna and Child'' by Fouquet printed on the top of an agenda or any everyday object. It is a ''Madonna and Child'' by Fouqet reinvented, where mixed-media ie the virtual editing by software (Photoshop or Gimp, to give possible examples) is used, further comprising décollages and collages alternate colors, different scenario, different medium ... features that make a clear distance with kitsch art.
Moreover, in these three cases, and really in most works of Artefacto, existing items are deleted from the old works (takeoff), and then replace that allow incorporating other (collage), refreshing the appearance of artistic expression, and giving it new aesthetics and values. The madonna itself just underwent modifications. Thus, his clothes were changed color in ''The queen of the birds'', replaced her veil for a crown than they seem showy black and fuchsia feathers, and finally the head of his Jesus supplemented by a parrot as pure as his spirit to be white. In the three works prevails exaltation of a human trait that, unlike in ''The cocodrila'' is not trivial. It is the maternal instinct magnified in both humans and gorillas (''The queen of apes'') and lions (''Lioness queen''). Also, ''The queen of apes'' can symbolize human evolution, remembering that the species is a relative of the gorillas. The three creations also may be an attempt to resemble the Virgin with the Child Jesus, but the representation of animals, creating a religious satire or promoting a notion related to the conservation of environmental welfare. The wheels on both behind ''The queen of apes'' and behind ''Lioness queen'' are astrolabes, very characteristic of the Renaissance and related to the stars, the zodiac and of course travel. The simulated gilt frames reminiscent of Baroque and emperifollan and protect the scene.
While the latter works for tiles were used in the previous two was used as support porcelain plates, mostly French but also, for example, Spanish. It is a way to combine mixed-media print, something completely new, with an antique and classic aesthetic bracket. Porcelain, in particular, provides a degree of these works, powerful refinement. Are reclaimed antique plates, so they avoid the expense of having to manufacture new ones. Once conditioned, the decorated through a vitrification process to the kiln. Simply beautiful artifact reuse materials but abandoned, and load a new look. Moreover, they themselves also allow you to add a touch of originality and uniqueness, for porcelain, which even date back centuries, brings an old value to the works of these Argentines. The fact of reusing materials that were valuable at the time but are now despised and scattered shops is also a way to praise the artistic movement called povera art. However, the production of dyes Artefacto sybaritism a curious contrast enough with the original idea of povera art. Artefacto is definitely an artist duo based in contrast to impact the viewer. Like the Baroque era.
''The mechanical poetess'', mixed-media printed in French porcelain dish. Artefacto (2013).
''The magic lanterns'', mixed-media printed in French porcelain dish. Artefacto (2013).
Finally, if the works that have been commenting Artefacto is characterized by the natural setting and the animals, ''The mechanical poetess'' and ''The magic lanterns'' manifest something quite different: the desire to express the human world. Both involved in a theatrical setting, we try to exalt the entertainment and comedy. The stage is synonymous with entertainment, thus constantly reminds banality cited in the second paragraph of this entry. The idle men go to the theater to enjoy the cultural functions that are performed on it. However, for a man to possess such leisure he must be rich enough to afford to have free time, and also invest in attending a theatrical event. Although today is not as expensive, if it is true that for most of History the theater was directed at the upper classes. In the nineteenth century, the birthplace of modern theater, the bourgeoisie frequented these shows. Artefacto seems to resemble this time, not so much using the backdrop (color), but rather through the configuration of numerous inventions belonging especially to the Second Industrial Revolution, emerged in the late nineteenth century and early twentieth century, as Emile Berliner gramophone (1888), published in ''The mechanical poetess.'' In addition, the name of this work not only refer back to factory, but also makes a critique of the mechanization of all that exists, even creativity. So the poet is able ''to create poems'' if you are paid a price that it determines first. Surely Artefacto well expressed in several works, the rejection of industrialization. The fact that art is bought and sold in this particular form continues to highlight the most terrible qualities of the consumer society, which is the current. In ''The magic lanterns'' is continuous on the line of the Second Industrial Revolution, the rise of the natural sciences. An inventor, stereotypical character this time and half face machining (a sign of taste for the ironic Artefacto), teaches the public of its magnificent theater cinematograph, invented by the Lumière Brothers (1895): synonym for progress in science, but also, in this case, the art, with the advent of cinema. The rough film projector, in turn, presents a picture of another original work of Artefacto: ''Artificial deer'', composition formed by a pair of deer loud and impossible in a bucolic atmosphere colors. Artefacto decided that project this image in ''The magic lanterns'' appears to be intentional. The strange tone of the skins of deer reported the presence of heavy pollution, which is perceived by the emergence of massive industrialization, and especially during the XXI century. Going beyond even the skins of live and rare tones notifies the arrival of genetic recombinations based on scientific progress, which can modify the appearance of life forms for your pure enjoyment'' alternative'' palette. It is, ultimately, a slave nature of contemporary inventor and scientist, and that he may be subjected to various dangers for it.
Finally, note that ''The magic lanterns'' is so named because a ''lantern'', ie, the light projector is capable of displaying a completely different reality that exists in the theatrical moment. A reality that has a space and a different time to the contemporary. It is, pure logic equivalence that led to the spectacular film at the time it arose.
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