ARTISTS
Angel Vergara: and yes I said yes I will Yes
The Almine Rech Gallery is pleased to present 鈥� for the first time and throughout its exhibition space 鈥� a new solo exhibition by Angel Vergara (Mieres, Spain, 1958).
In the wake of his much discussed installation 芦Feuilleton, the seven deadly sins禄* for the Belgian Pavilion at the latest Venice Biennale, Angel Vergara is here pursuing the exploration he initiated some years ago. Vergara edits and assembles images drawn from the media that serve to frame the act of painting, an activity that follows the temporality and movement of the images. The artist gradually paints over them in an unyielding act of concealment, while the images can thus regain, in a sense, the colour, thickness and consistency they may have lost. Proceeding by means of discrete or pronounced interventions, and using various instruments, the painter鈥檚 activity gradually immerses itself in the images, outlining them, underlining them, pursuing them. If it seems to us that he can never catch up with them, this is precisely because the artist wishes to highlight another temporality, to give shape to the necessary gap that gradually distances us from the images and transports us into the creative process underlying a work of art.
The Almine Rech Gallery is pleased to present 鈥� for the first time and throughout its exhibition space 鈥� a new solo exhibition by Angel Vergara (Mieres, Spain, 1958).
In the wake of his much discussed installation 芦Feuilleton, the seven deadly sins禄* for the Belgian Pavilion at the latest Venice Biennale, Angel Vergara is here pursuing the exploration he initiated some years ago. Vergara edits and assembles images drawn from the media that serve to frame the act of painting, an activity that follows the temporality and movement of the images. The artist gradually paints over them in an unyielding act of concealment, while the images can thus regain, in a sense, the colour, thickness and consistency they may have lost. Proceeding by means of discrete or pronounced interventions, and using various instruments, the painter鈥檚 activity gradually immerses itself in the images, outlining them, underlining them, pursuing them. If it seems to us that he can never catch up with them, this is precisely because the artist wishes to highlight another temporality, to give shape to the necessary gap that gradually distances us from the images and transports us into the creative process underlying a work of art.
Artists on show
What's on nearby
