Próceres

Paz Errázuriz

Próceres, 198336 x 46cmSign in to view price
Details
MaterialGallery
digital print on infinity baryta papermor charpentier
Description
Human-crafted. AI-refined.

The image depicts a striking black and white photograph of a distorted and partially decayed human figure encased in a mold or cement-like material. The figure appears to be in an embryonic or fetal position, with a prominent head and limbs emerging from the solid mass. The overall composition creates a somber and unsettling atmosphere, highlighting the fragility and transience of human existence. The artist's use of monochrome and the rough, textured surface of the material evoke a sense of decay and deterioration, inviting the viewer to ponder the cyclical nature of life and death. This powerful work likely explores themes of mortality, the human condition, and the fleeting nature of our physical forms. ...

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Paz Errázuriz
Artist
Paz Errázuriz
B.1944, Chilean

Paz Errázuriz is a Chilean photographer whose work could be described as a social testimony of the reality in her country. Starting to work in the early 1980s, during the military dictatorship of Chile, Errázuriz documented marginalised communities such as sex workers, wrestlers and circus performers. Her intention is to encourage the public to look at the part of reality that society refuses to look at, not in the terms of journalistic photo-realism, but rather in an attempt to subvert the conventions of the visual order, and its traditional values. In 1983 she started her celebrated series of portraits of transvestites, La Manzana de Adán, a project with first publication was possible thanks to a John Simon Guggenheim fellowship (1986-1987). Ever since, Errázuriz work has focused in the people that stand outside the center and have always been subordinated to power. ...

Paz Errázuriz: Artworks
La manzana de Adán (Evelyn, Santiago)
Paz Errázuriz
La manzana de Adán (Evelyn, Santiago), 1982
30 x 40cm
La manzana de Adán (Coral, Santiago) I
Paz Errázuriz
La manzana de Adán (Coral, Santiago) I, 1982
30 x 40cm
La manzana de Adán (Andrea Polpaico, Talca)
Paz Errázuriz
La manzana de Adán (Andrea Polpaico, Talca), 1982
31 x 43cm
La manzana de Adán (Nirka, La Jaula, Talca)
Paz Errázuriz
La manzana de Adán (Nirka, La Jaula, Talca), 1982
31 x 43cm
La manzana de Adán (La Jaula, Talca)
Paz Errázuriz
La manzana de Adán (La Jaula, Talca), 1982
31 x 43cm
Boxeadores (III)
Paz Errázuriz
Boxeadores (III), 1987
30 x 40cm
Boxeadores (XIV)
Paz Errázuriz
Boxeadores (XIV), 1987
30 x 40cm
El circo (Mago II, Santiago)
Paz Errázuriz
El circo (Mago II, Santiago), 1988
40 x 50cm
El circo (Miss Piggy I)
Paz Errázuriz
El circo (Miss Piggy I), 1984
40 x 50cm
Mujeres de Chile (Untitled III)
Paz Errázuriz
Mujeres de Chile (Untitled III), 1992
28 x 35cm
Calbuco (Niña con máscara)
Paz Errázuriz
Calbuco (Niña con máscara), 2000
47 x 36cm
Próceres
Paz Errázuriz
Próceres, 1983
36 x 46cm
mor charpentier
Gallery
mor charpentier
Paris, Bogotá

Established in Paris since 2010, mor charpentier represents both emerging and well-established artists whose conceptual practices are anchored in social realities, history and the politics of contrasting geographic regions. By promoting international practices, the gallery aims to broaden the knowledge of crucial debates of the present. A significant inaugural show with Colombian master, Oscar Muñoz, fulfilled a void in the French artistic scene by broadening the spectrum of origins, subjects and identities in the art market. Ever since, a growing number of major international artists have joined the gallery. Coming from different generations and global backgrounds, they all share a commitment to either political, feminist, post-colonial, queer or human rights causes. Amongst them are Lawrence Abu Hamdan, Teresa Margolles, Chen Ching-Yuan, Liliana Porter, Bouchra Khalili, Carlos Motta, Hajra Waheed, and more. Equal gender representation and diversity is also part of the gallery goals, with half of the represented artists being women. In 2021 mor charpentier opened a second exhibition space in Bogotá. This expansion was driven to expand the reach of the gallery program to new publics and encourage artists to explore new territories. It consolidated a long-term bond with the Latin American art scene and the international projection of the gallery. ...

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