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Ferrari infinito

Past

More information

  • From March 25, 2021 to Sept. 5, 2021

  • Room 33 / First Floor

  • 120 works on display

  • Curator: Carolina Jozami

  • Download press kit

Over the course of his life, León Ferrari (1920-2013) produced a vast quantity of works in diverse formats and languages. The pieces brought together for this exhibition show the different printmaking techniques he began to explore in 1976, while exiled in Brazil, where he forged ties with artists and experimental art spaces. He was self-taught in practically all disciplines, and it was with exceptional fervor that he delved into studies of printmaking and all the possibilities that the era’s novel technologies for reproduction and working in series had to offer.

Ferrari took on universal themes such as western Christian civilization, politics and human rights, and also made works based on formal abstraction, line and drawing. In his Proyectos [Projects] and Planos [Floor Plans] series, Letraset drawings and heliographs, he explored the physical support of our urban existence in plans for crazed architecture and cities inhabited by diminutive figures. He worked with the strategy, logic and thinking of chessboards and chess pieces and of labyrinths. In his written pieces, which were legible at times and illegible at others, and the letters, alphabets and codes he invented, he explored communication structures and that which constitutes us as human beings: language. In order to untangle and denounce the horrors committed by humanity in the name of God, he studied the holy scriptures and the religious iconography in the artistic masterpieces pertaining to Christianity and the history of western art. Accordingly, the human being is the measure of all things in León’s works.

In his zeal to make art more democratic, he did not hesitate when it came to numbering editions of his prints, pieces that are multiples by nature, using infinity as the denominator, as is the case for the Xerox or photocopy prints on exhibit here. In addition to taking distance from the mercantile logic applied to works of art, this gesture reflects the unbending will and corresponding actions of an artist committed to his time, and on a deeper level, to communicating and infinitely  transmitting the idea of a world that is more just.

Carolina Jozami

Curator

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