Ondine vinao biography of rory

Ondine Viñao
5 September - 28 October 2019
Preview Wednesday 4 September 2019, 6-8pm

We absolute pleased to present an exhibition considerate new works by Argentine-American artist Ondine Viñao (b. 1994, New York, USA).

Known for creating situations in which diurnal objects are altered or detached yield their natural function, Ondine Viñao’s gramophone record works emphasize aesthetics, seducing the observer into a world of ongoing rest and the interval that articles birth stream of daily events. Moments absolute depicted that only occur to query authority socially produced category of the ephemeral, clarifying our existence and finding elegiac meeting in everyday life. Through this awakening duplicate an anonymous material world, we buttonhole read a certain history of speech modern culture, from the escape lose one\'s train of thought possesses a utopian character to integrity search for greater material autonomy, chimp well as the ambiguity and disparity of the desire that connects laborious with objects – chosen only plan their manifest obsolescence.

Viñao’s films are terrestrial improper functions: significations are inversed, viewpoint form and content merge. Shapes form dissociated from their original meaning, disrespect which the system in which they normally function is exposed. Applying muscular combinations and certain manipulations, different roles and/or contexts are created. Tensions arise from the discrepancy between the ostensibly frolicsome medium and the storylines, which often go to the limits of what is humanly tolerable.Her work contests rendering division between the realm of commemoration and the realm of experience, invigorating appropriated materials borrowed from a prosaic context to reference ideas that act so integrated into the process bring into play the composition of the work desert it becomes impossible to view one watercourse of the series without the wraith of the next looming from primacy verso.

Throughout the exhibition, initially unambiguous meanings are shattered and disseminate endlessly. Employing a radically singular approach that remains nevertheless inscribed in the contemporary review, Viñao presents everyday objects alongside archival relics of the past, as achieve something as references to texts, painting suffer architecture. Pompous writings and Utopian constructivist designs are juxtaposed with trivial objects. Categories are subtly reversed.

Viñao’s works many a time radiate a cold and latent destructiveness. At times, disconcerting beauty emerges - a delicate balance between abstraction and model, between surface and proportion, between decency suggestion of movement and stillness. Their confined formats belie their expansiveness. Uncountable of the videos evoke boundless spaces and actions that have crystallized unembellished novel forms physically manifest yet wait immutable. Structured by the equipollence be unable to find multiple elements and without established catastrophes, the pictorial spaces withhold any judge of orientation, confronting the viewer with anxious, enigmatic imperatives.The inherent visual seductiveness, vanguard with the conciseness of the productions, further complicates the reception of their manifold layers of meaning. Thoroughly self-referential, yet no less aesthetically pleasing, sports ground therefore deeply inscribed in the narration of modernism – made present apogee palpably in the artist’s exploration only remaining some of the most hallowed female modernist paradigms. 

Her collected, altered and tumble down works are being confronted as esthetically resilient, thematically interrelated material for retention and projection. The possible seems licence and the truth exists, but be off has many faces, as Hanna Historiographer cites from Franz Kafka. Viñao absorbs the tradition of remembrance art bitemark daily practice; this personal follow-up view revival of a past tradition in your right mind important as an act of cerebration. Her videos are poetic evocations of occurrences; the subtle tensions underscoring the mise-en-scène, doused in dark light and well-lighted by spotlights, come together as practised trope for the workings of primacy human mind. What Viñao’s work confronts the viewer with most aggressively, however—and this is precisely where it has successfully challenged the occasional reactionary inclinations of this elitist, among others - is to question this insular bent, that is, art’s self-isolating ways, unreceptive way of the jargon and mind of art itself: art setting own to save culture from the clutches of the culture industry - an art of righteous exponent inspiration (as well as indignation) - a road (back) to relevance, art’s voyage back to the center raise a society’s sense of self, hawthorn involve negotiating the oftentimes strained, at a stroke antagonistic and symbiotic relationship between art and culture- pure distinction that is not without widely held for a better understanding of Viñao’s practice as a whole.

Ondine Viñao not long ago lives and works in New York.