Gallery Facade.
Exhibition Views.
Exhibition Views.
Exhibition Views.
Sin Título. 2014. 210 x 220 x 1400 cm. Resin and fiberglass.
Sin Título. 2014. 210 x 220 x 1400 cm. Resin and fiberglass.
Sin Título. 2014. 210 x 220 x 1400 cm. Resin and fiberglass.
Sin Título. 2014. 210 x 220 x 1400 cm. Resin and fiberglass.
Sin Título. 2014. 210 x 90 x 60 cm. Series of 3 + AP. Resin and fiberglass.
Sin Título. 2014. 210 x 90 x 60 cm. Series of 3 + AP. Resin and fiberglass.
Sin Título. 2014. 210 x 110 x 108 cm. Series of 3 + AP. Resin and fiberglass.
Sin Título. 2014. 210 x 110 x 108 cm. Series of 3 + AP. Técnica: Resin and fiberglass.
Exhibition Views.
Information
Galería Moisés Pérez de Albéniz is pleased to announce Skins the first solo exhibition of the artist Carlos Irijalba in Madrid. This project emerges from the artist’s visit to a 3D reproduction company in Madrid, in 2010, while it was in the midst of a full financial crisis. At the time, the company was involved in the reproduction of a replica of the interior of several ancient caves, located on the coast of Cantabria, which have been closed to the public since the late 1990s; as is the case with the Altamira cave. This decision, a preservation measure, designed to protect the caves and their paintings from possible damage, meant that replicas, of a select few, were developed so that they could be recreated in museums.
When the financial crisis hit Spain and the company went bankrupt, the scans were saved as digital data in ZIP disks, a currently out-dated system, and now a kind of digital artefact. The 3D scanner system used was not image-sensitive, which means its ultrasound technique only reads form and volume, with no human intervention. The scans only replicate the skin of the cave, with no cultural information, colour or representation. With this artwork, Carlos Irijalba stands up for the idea that all translations imply loss. In this case, paradoxically, the loss of techné, precisely what made these walls relevant. History erased by itself, as such.
Skins uses the replica’s language to make structure visible, bringing the walls to a stage prior to any human intervention, but with the loss of any technological translation. (Meaning a release from any historical and cultural weight acquired throughout time and a refusal to represent anything else but themselves). Thus, this project invites you to reflect on the necessity of objects, their appropriateness or superficiality.