Sergio Prego
01 Dec 2011 - 14 Jan 2012
SERGIO PREGO
1 December, 2011 - 14 January, 2012
Sergio Prego has worked in collaboration with Soledad Lorenzo gallery since 2002. In his last two exhibitions he has presented video works, sculptures and installations all of which contain an experimental character as a common factor underlying them.
In the project entitled PRIMER PROFORMA 2010 which he carried out together with Txomin Badiola and Jon Mikel Euba at MUSAC – Museo de Arte Contemporáneo de Castilla y León, Prego developed, in an extensive way, a series of works with pneumatic structures similar to the work that he is currently presenting in the gallery. (These experimental exercises can be seen on the web page of the project: www.primerproforma.2010.org)
In this way at the 41st edition of Art Basel inside the section for Art Unlimited 2009 Sergio Prego, presented his installation piece Ikurrina Quarter. The work was composed of a pneumatic cylinder in the form of a corridor 2.5 m in diameter and 120m long though which the visitor could walk.
For this occasion, Sergio Prego has inundated the exhibition space of the gallery with a pneumatic cylinder that occupies the entire space of the gallery. The visitor can transit through the exhibition space from inside the cylinder. The installation is made out of a presostatic pneumatic structure 40m long and with a perimeter of 16m, with an opening/ exit at each of the two ends, which inhabits the gallery’s space to the point that it exceeds its limits, at the same time as it simultaneously adapts itself to its inner space. The structure extends its membrane pressurizing against the floor, walls and ceiling. The specificity of this space produces a sensation of unreality and abstraction, as a result of the transgression of the architectural conventions.
The installation engages in a series of questions related with the sculpture (the pneumatic structure) and its container and context (the gallery). On the one hand, from the outside it appears like an autonomous sculptural object, with a conclusive presence. Meanwhile on the other hand, from the inside, it seizes a number of functions of the architecture and is situated as a membrane that negotiates the relation between the spectators and the architecture which encompasses them.
The inside of the pneumatic structure appears to be an empty space given the absence of an orthogonal system. By denying perceptual systems, it appears as an unlimited space, at the same time as it perceives its strong material reality. The simplicity of the pattern design employed creates a contradiction between the abstractness of its vision and the concreteness of its outward appearance. The pneumatic structures subvert the conventions both of the architecture as well as the sculpture, since they are supported by the pressure of the internal space whilst the material production is simply limited to the almost intangible plane/ surface that divides the inside from the outside.
The exhibition is also showing Estudios para permutaciones Bug, a series of small scale sculptures that were done as part of a study for a video and which analyse a sequence of movements of the limbs of the human figure in relation to a geometrical lineal structure.
Sergio Prego, (Fuenterrabia 1969) lives and works in New York. He has used different mediums such as video, sculpture and installation. Sergio’s work focuses on the relation of the individual with the space that surrounds him/her and the time in which he/she lives. In his work the human body becomes the subject of a movement which, at the same time, constructs the space in which it is produced. Sergio Prego compels us to look until we discover “situations” in his works which were perhaps only sensed up until then; he invites us to stand facing “landscapes” that are not simply real, but which are conceptual reconstructions of the very experience of the artist himself, and which could also be our very own.
Sergio Prego has done solo exhibitions in the Palazzo delle Papesse in Siena; la Sala Rekalde in Bilbao or in the Alfonso Artiaco galleries in Naples, Buchman in Cologne or Lombard-Freid Fine Arts in New York. He was selected in the 41st and 35th edition of Art Unlimited, Art Basel and has been awarded the Premio Altadis Artes Plásticas in 2003. He has participated in exhibitions such as Antes que todo, CA2M, Centro de Arte Dos de Mayo, Móstoles. Madrid; PRIMER PROFORMA 2010, MUSAC, Leon; Truss thrust: the artifice of space in the Museum of Contemporary Art in Denver; Hasta pulverizarse los ojos. BBVA Contemporáneos; The Real Royal Trip, P.S.1 Contemporary Art Center in New York; Bad Boys, 50 Biennale di Venecia or Monocanal in the MNCA Reina Sofía, Madrid.
1 December, 2011 - 14 January, 2012
Sergio Prego has worked in collaboration with Soledad Lorenzo gallery since 2002. In his last two exhibitions he has presented video works, sculptures and installations all of which contain an experimental character as a common factor underlying them.
In the project entitled PRIMER PROFORMA 2010 which he carried out together with Txomin Badiola and Jon Mikel Euba at MUSAC – Museo de Arte Contemporáneo de Castilla y León, Prego developed, in an extensive way, a series of works with pneumatic structures similar to the work that he is currently presenting in the gallery. (These experimental exercises can be seen on the web page of the project: www.primerproforma.2010.org)
In this way at the 41st edition of Art Basel inside the section for Art Unlimited 2009 Sergio Prego, presented his installation piece Ikurrina Quarter. The work was composed of a pneumatic cylinder in the form of a corridor 2.5 m in diameter and 120m long though which the visitor could walk.
For this occasion, Sergio Prego has inundated the exhibition space of the gallery with a pneumatic cylinder that occupies the entire space of the gallery. The visitor can transit through the exhibition space from inside the cylinder. The installation is made out of a presostatic pneumatic structure 40m long and with a perimeter of 16m, with an opening/ exit at each of the two ends, which inhabits the gallery’s space to the point that it exceeds its limits, at the same time as it simultaneously adapts itself to its inner space. The structure extends its membrane pressurizing against the floor, walls and ceiling. The specificity of this space produces a sensation of unreality and abstraction, as a result of the transgression of the architectural conventions.
The installation engages in a series of questions related with the sculpture (the pneumatic structure) and its container and context (the gallery). On the one hand, from the outside it appears like an autonomous sculptural object, with a conclusive presence. Meanwhile on the other hand, from the inside, it seizes a number of functions of the architecture and is situated as a membrane that negotiates the relation between the spectators and the architecture which encompasses them.
The inside of the pneumatic structure appears to be an empty space given the absence of an orthogonal system. By denying perceptual systems, it appears as an unlimited space, at the same time as it perceives its strong material reality. The simplicity of the pattern design employed creates a contradiction between the abstractness of its vision and the concreteness of its outward appearance. The pneumatic structures subvert the conventions both of the architecture as well as the sculpture, since they are supported by the pressure of the internal space whilst the material production is simply limited to the almost intangible plane/ surface that divides the inside from the outside.
The exhibition is also showing Estudios para permutaciones Bug, a series of small scale sculptures that were done as part of a study for a video and which analyse a sequence of movements of the limbs of the human figure in relation to a geometrical lineal structure.
Sergio Prego, (Fuenterrabia 1969) lives and works in New York. He has used different mediums such as video, sculpture and installation. Sergio’s work focuses on the relation of the individual with the space that surrounds him/her and the time in which he/she lives. In his work the human body becomes the subject of a movement which, at the same time, constructs the space in which it is produced. Sergio Prego compels us to look until we discover “situations” in his works which were perhaps only sensed up until then; he invites us to stand facing “landscapes” that are not simply real, but which are conceptual reconstructions of the very experience of the artist himself, and which could also be our very own.
Sergio Prego has done solo exhibitions in the Palazzo delle Papesse in Siena; la Sala Rekalde in Bilbao or in the Alfonso Artiaco galleries in Naples, Buchman in Cologne or Lombard-Freid Fine Arts in New York. He was selected in the 41st and 35th edition of Art Unlimited, Art Basel and has been awarded the Premio Altadis Artes Plásticas in 2003. He has participated in exhibitions such as Antes que todo, CA2M, Centro de Arte Dos de Mayo, Móstoles. Madrid; PRIMER PROFORMA 2010, MUSAC, Leon; Truss thrust: the artifice of space in the Museum of Contemporary Art in Denver; Hasta pulverizarse los ojos. BBVA Contemporáneos; The Real Royal Trip, P.S.1 Contemporary Art Center in New York; Bad Boys, 50 Biennale di Venecia or Monocanal in the MNCA Reina Sofía, Madrid.