Showing in November is Gonzalo Borondo’s NON PLUS ULTRA which will undoubtedly catch the eye of visitors as they enter the darkened room and view this wonderfully made piece. Constructed out of 52 glass plates, the double-sided panels show an image of an almost Christ-like pose. Each on of these hauntingly floats lifelessly in the room like a silent army of bodies. Visually arresting, this piece is not only provoking but as the Asylum intends is a great piece to demonstrate process. The images seemingly lasered into the glass are actually screen printed, which shows how old techniques and new materials can create bold contemporary designs. Usually used in creating t-shirts and putting designs onto fabrics, this work will no doubt get people talking and designers thinking.
The 63-year-old painter was in attendance at the MACRO to give audiences a chance to see him at work. Know for his striking and often intricate patterns, the expressionist and abstract painter stood in the large spacious area equipped with his paint, brushes and some rectangular pieces of black glass. Throughout his career he has been focused on the concept of emptiness which can be seen through many of his works, whether that be the gaps in the shapes that he dramatically applies to canvases or simply the scale of his piece compared to the area of the material. In one of his Asylum performances he took a vibrant yellow paint and could be seen calculating his movements before expressively and energetically throwing down straight lines of vivid colour. Eventually coating several black planes into a series of connected geometrical planes, the end result was seen only by the artist himself. This live painting shows the techniques that famed artists use to create their work and finally brings together admirers of the work with the creation process which is often the most hidden part of gallery art.
‘We have nearly lost control’ was the name of this exhibit which mixed multimedia with dance and performance. An unlikely scene in any museum, here the glossy floor was a stage for dancers to become interlocked in an interpretive wrestle as they paired off in their costumes to twist and contort their bodies to the music that filled the area. With a projector providing a backdrop to the rotating set of genres and dj’s that were featured, visitors would mistake this for an upbeat party instead of a museum piece. With visuals to accompany the tracks that featured samples from historical events as well as modern ones, images of war and peace overlapped in chaos as electronic beats pulled through the floors. With the crowd eventually being invited to fill the space and dance away at their own free will, this much more interactive example of artistry helps breakdown the preconceptions of what a gallery is. For those who attended, this was much more of an engaging experience than simply an examination of something hanging on a wall and shows just how keen MACRO is at bringing more people in and shaking things up.