Argentine art makes a foothold in Uruguay with an innovative project in a recovered historic building
This summer a selection of local creators exhibit in timeless timeless, the first exhibition of Argentine art of the Creative Cluster Development (CCD), in a historic building in Punta del Este. This spacious two-story space, located at Juan Diaz de Solís 630, was for 80 years – between 1933 and 2012 – a well-known social club for locals, which was later abandoned. Today, hand in hand with the Argentine collector and businessman Guillermo Rozenblum, reworked to become epicenter of local and global culture throughout the year. Strictly speaking, the inauguration of the CCD was at the beginning of 2021, but after a refurbishment work, this is the first season -pandemic through- that it is fully operational.
“We chose 25 artists because it is a number that represented a challenge. Within that selection, we prioritize the criterion that there is geographic diversity, that they are not all from the same city. We try to make it as federal as possible. It is necessary to expand the panorama of art in the country, and there are many artists throughout the territory who deserve to be seen”, says Yuyo Gardiol, curator of the exhibition and cultural manager of the space Raw Contemporary Art in Rosario.
This idea can be seen in the different works exhibited in the exhibition, whose visions are linked to the landscape where they live, to the land in which they live: as in the case of the series black triangle, by Virginia Chui, created with drawings made from ashes generated by the great fires that happened on the island of the Rosario Delta, in front of his house, last summer in San Nicolás. or the play Phantasids, by Facundo Díaz, an artist from Mendoza, influenced by his land of volcanoes and mountains.
The set ranges from pictorial art and sculptures to installations and videos. “All disciplines, because it is something typical of contemporary art, I would say its greatest characteristic, breaking the border of the discipline like a border that moves all the time.”
The collaborative notion of CCD part of the gestation of ideas to the materialization of projects, with the focus on giving voice and accessibility to all agents in the art world. From artists to collectors and creatives. “It is open to all people who add value and have the right values. And its main objective is the dissemination of local, regional and international contemporary art”, says Rozenblum, who thought of this format based on his experience in the world of art -Rozenblum Foundation (1985), the BSM Art Building (2007) in Buenos Aires and Crudo contemporary art (2020) in Rosario-, where there are artists’ studios, exhibition sectors and residences.
With this commitment, which he plans to replicate globally, he is working on a central idea that considers art as a discipline that cuts across all areas of life, generating greater visibility while trying to get art more to the public. This is how the first fair was created within the CCD GANGA, where curated works were sold at prices between $100 to $3,000. “In the CCD I integrate all kinds of art, because that is my life: a curatorship that ranges from design to gastronomy and fashion. In Punta del Este there was no cultural center, so this project seeks to fill that gap”, says Rozenblum.
The architecture of the space is also closely related to the multidisciplinary and contemporary proposal. The CCD (like the rest of the spaces created by Rozenblum) moves away from the classic static museum, its route is dynamic, with works that are combined in interior and exterior spaces. “Contemporary art does not need the white cube, just as its works move away from a limit, spaces should too. It was an interesting challenge to curate this exhibition and compose it in a building that carries so much information and texture”, Yuyo Gardiol considers.
The arrangement surprises as the tour progresses: there are works that are lost in the materials, such as the work Fire to sell us more smoke, by Luciana Rondolini -worked with plaster, it is found on a wall that also has texture and seems to melt into the work- or the installation by Marcos Calvari Right to Sloth, -seven Paraguayan tulle hammocks that move as a result of the wind that enters through a door located right next to them-. “This work talks about something that seems to be as natural as resting, it is not that easy. And the wind plays its own role, making them look very fragile, like the right to be lazy”, says the curator.
On the other hand, the space encourages entrepreneurship in the creative industries, with one of its objectives being to support NGOs aimed at social reintegration through the arts and will feature a program of talks and educational conferences.
From Monday to Friday from 2:00 p.m. to 8:00 p.m., with free admission. The sample timeless timeless can be visited throughout the season. At the end of January, the second floor of the building will be inaugurated with a large living room with a functional design where interior design objects, sculptures, photographs and local design from Uruguay will be exhibited.