Marco Maggi, Parking Any Time is the title of the exhibition by Uruguayan artist Marco Maggi presented at the Josée Bienvenu Gallery in New York City. In this exhibition the artist, through abstraction, addresses the ways in which information is processed in a global but myopic world. ¿Expanding the time of perception is expanding the perception of time¿ is the central idea behind the exhibition Parking Any Time. With this show, Maggi invites a reflection on the notion of vision as the basis for social experience. According to the artist, ¿we are creating a dysfunctional information society in which reality becomes illegible and the visual arts, invisible. Drawing only requires following one traffic signal: STOP. Speed is tragic both in cars and in the arts. We must park now.¿ Throughout the exhibition, Maggi presents works created with generic formats and materials¿paper, letter-size envelopes, graphite or Plexiglas, aluminum foil and surveillance mirrors, etc. The artist intervenes these materials with cuts, as he addresses the notion of vision in the context of globalization¿as the works inside the space suggest¿and reinforces the corporal evidence of materials that become exposed and vulnerable. As their fragility is revealed, the surface of each material is examined¿with a pencil or a cutter¿with surgical precision as its matter is extracted as evidence. Consisting of linear patterns¿reminiscent of integrated circuits, aerial views of impossible cities, genetic engineering, or nervous systems¿Maggi¿s drawings and sculptures suggest a codification of the world. The artist effectively conveys such imagery in the work entitled Global Myopia (Parking Mirror). It consists of a drawing created on a 36-inch outdoor surveillance mirror. There, Maggi has performed multiple cuts with a scalpel that are reflected and multiplied by the mirror. The resulting drawing and landscape reflections are blurred, as each line is duplicated by the mirror. Maggi reminds us with this work that ¿¿ the micro becomes macro when the visual arts move into the threshold of blindness. Nowadays, subtlety has become a subversive activity, and paying attention to anything has become truly scandalous. We are condemned to know more and understand each other less.¿ Another work in the exhibition consists of four large-scale compositions created with superimposed white envelopes. These have received many incisions that reveal pieces of color papers hiding underneath¿something that could be read as clues of a new language, or remnants of a forgotten alphabet, in which every sign evokes punctuation marks or vanished monuments. In works like these, Maggi makes plenty of references to globalization, as he also addresses archeological ruins, utopic societies, hieroglyphs and calligraphies, electronic circuits, urban wefts or physiological tissues, and biological structures. When talking about globalization in the context of his vision, the Maggi has said: ¿The world is inundated by papers and signs that are not understood. My work offers imperceptible archives about prosaic materials: letter paper (¿). A digital dialogue, based on the minimum amount of movement from the index and thumb fingers, records a weft over various surfaces that will be read without any hopes that it will be informative.¿ Perhaps the most perceptible, sensorial, and conceptually charged works of the exhibition belong to the Color-Braille series. It was developed from the idea of ¿blindslides,¿ namely, cut color papers, held with 35 mm slide frames that show layers of information in the threshold between the two-dimensional and three-dimensional realms. Likewise, in the piece entitled Vertical Carousel¿a work that consist of 80 drawings created on aluminum foil and fixed to slide frames that fit a Kodak carousel tray¿only the drawing from the first slide can be partially observed. And lastly, the work entitled Drawings from 1998 to 2000¿created with a pair of glasses that were taken from the artist¿s lenses, extracted from their frames, and then carefully scratched with a scalp¿project their diffracted shadows from a stand. All of the works from Parking Any Time invite viewers to interpret and to reflect on the works, in order to understand that ¿implicit viruses from recent exhibitions confirm that myopia is the proper answer to globalization.¿ ?
February 18, 2019