Miguel Aguirre
16 Nov - 23 Dec 2010
© Miguel Aguirre
Ao lado de Maradona, Chavéz anuncia cisão com Bogotá: "Estamos juntos até a morte", diz argentino, 2010
Acrylic on paper
32,5 x 58 cm
Ao lado de Maradona, Chavéz anuncia cisão com Bogotá: "Estamos juntos até a morte", diz argentino, 2010
Acrylic on paper
32,5 x 58 cm
MIGUEL AGUIRRE
Blown Up
16 November - 23 December, 2010
From a selection of press photos where international diplomacy and Brazilian politics relate to football, Miguel Aguirre (Lima, 1973) amplified a specific detail of each image at human scale and simulated with perforated paper soaked in paint the mechanism of the offset print in order to question image construction and its eventual political uses.
These images depict soccer as a group of belonging. Lula photographs Fidel Castro with a Nike jacket, Maradona hugs Hugo Chávez, Hilary Clinton is photographed with Amid Karzai where street merchants sell footballs, Lula and Dilma celebrate a political victory like sport champions or Ahmadinejad is offered a shirt of Brazil’s football team.
Miguel Aguirre selected and augmented a fragment of each image in order to encounter an aesthetic and political reading where the central character of politicians is eliminated and recuperated textually through the use of the legends below each image as the title of his works.
Roland Barthes ́Punctum, refers to the detail which generates the totality of an image. To amplify the punctum at a natural scale brings us closer to a foreign reality and distorts the presence of the real.
In Blown Up, the selected details accentuate the dynamic between textile and body: the sport uniform covers the face while some hands hold a shirt as if it was a flag.
Clothes differentiate us and reveal our origin. Like the Shroud of Turin or the veil of Veronica, cloth becomes a receptor of truth. To that effect, the presented works are not painted on paper but it is the proper paint which goes through the material.
The perforations draw the punctum and the paint applied on the reverse of the paper is filtered, exposed and hidden just like clothes on the skin.
Constructed from images that are industrially processed, gesture and line disappear. Paint and paper generate unpredictable imperfections. These blown ups of press photography pervert Robert Capa ́s famous say ̈if your pictures are not good enough, you are not close enough. ̈ The artist, incapable to get close to the real moment, approaches the printed image in search for a dead moment.
Miguel Aguirre was born in Lima, Peru in 1973. He lives and works in Barcelona, Spain. His works are in important public and private collections, such as: MALI (Peru); Micromuseo (Peru); Fundación Telefónica (Peru); Banco de Crédito del Perú (Peru) Fundación José Ortega y Gasset (Spain); MIDE (Spain).
Antoine Pierre Jean Henry Jonquères for the LiMAC
Blown Up
16 November - 23 December, 2010
From a selection of press photos where international diplomacy and Brazilian politics relate to football, Miguel Aguirre (Lima, 1973) amplified a specific detail of each image at human scale and simulated with perforated paper soaked in paint the mechanism of the offset print in order to question image construction and its eventual political uses.
These images depict soccer as a group of belonging. Lula photographs Fidel Castro with a Nike jacket, Maradona hugs Hugo Chávez, Hilary Clinton is photographed with Amid Karzai where street merchants sell footballs, Lula and Dilma celebrate a political victory like sport champions or Ahmadinejad is offered a shirt of Brazil’s football team.
Miguel Aguirre selected and augmented a fragment of each image in order to encounter an aesthetic and political reading where the central character of politicians is eliminated and recuperated textually through the use of the legends below each image as the title of his works.
Roland Barthes ́Punctum, refers to the detail which generates the totality of an image. To amplify the punctum at a natural scale brings us closer to a foreign reality and distorts the presence of the real.
In Blown Up, the selected details accentuate the dynamic between textile and body: the sport uniform covers the face while some hands hold a shirt as if it was a flag.
Clothes differentiate us and reveal our origin. Like the Shroud of Turin or the veil of Veronica, cloth becomes a receptor of truth. To that effect, the presented works are not painted on paper but it is the proper paint which goes through the material.
The perforations draw the punctum and the paint applied on the reverse of the paper is filtered, exposed and hidden just like clothes on the skin.
Constructed from images that are industrially processed, gesture and line disappear. Paint and paper generate unpredictable imperfections. These blown ups of press photography pervert Robert Capa ́s famous say ̈if your pictures are not good enough, you are not close enough. ̈ The artist, incapable to get close to the real moment, approaches the printed image in search for a dead moment.
Miguel Aguirre was born in Lima, Peru in 1973. He lives and works in Barcelona, Spain. His works are in important public and private collections, such as: MALI (Peru); Micromuseo (Peru); Fundación Telefónica (Peru); Banco de Crédito del Perú (Peru) Fundación José Ortega y Gasset (Spain); MIDE (Spain).
Antoine Pierre Jean Henry Jonquères for the LiMAC