The artwork features a vibrant, abstract composition of overlapping shapes and forms in a variety of bold colors, including greens, blues, reds, and whites. The overall impression is one of dynamic movement and energy, with the shapes and lines creating a sense of depth and visual interest. The style appears to be a blend of expressionistic and cubist techniques, with the artist using a distinctive approach to fragmentation and composition to convey a sense of the complexity and chaos of the modern world. The piece likely reflects the artist's exploration of the relationship between the individual and the broader social and environmental landscape. ...
The work of Iosu Aramburu (born in Lima in 1986) revolves around modernity as an aesthetic, architectural and philosophical paradigm. From the reinterpretations of modern languages, Aramburu seeks to question the failures of the modern project. He explores abstraction and modernist architecture, using its elements as a starting point. From the materiality of his work, the artist reduces the totalitarian impetus of modern art and recovers aesthetic patterns so that he has a critical angle to the paradigm of modernity. ...
80M2 Livia Benavides is an art gallery specialised in Peruvian conceptual art. The gallery opened in Lima as a response to a scarce infrastructure for the arts. From then on, the gallery is focused on developing critical discourses on contemporary issues. We are interested in different voices, practices and aesthetics focused on political and social reflection. By promoting the works of established and emerging artists who have influenced the local artistic scene, we intend to introduce new names internationally. The gallery strives to build bridges between the local and international contributing to an interchange that goes beyond borders. 80m2 Livia Benavides advocates for non- conventional exhibitions spaces that transcends the white box experience. With the intend to reach a broader spectrum of the community and to rethink exhibition venues. ...
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