NADA NY | Project Section | New York

_VIGILGONZALES is pleased to announce its first presentation at NADA New York
hosted by the New Art Dealers Association with a solo exhibition of Pablo Linsambarth in the Project Section at booth P26. This exhibition will feature previously unseen paintings by Pablo, setting the stage for his upcoming major institutional show in Peru, curated by Daniel Rey from the United Arab Emirates.

Born in Chile in 1989, artist Pablo Linsambarth has developed a compelling body of work that departs from conventional social and historical themes. Utilizing mediums like painting and video, he integrates a variety of social interactions into his pieces, drawing on a rich personal collection of visual and political memories. Linsambarth's artistic progression has seen him transition from employing diverse elements within broad color fields to establishing a distinct visual language that defies traditional structures. This innovative approach not only allows him to reassess the implications of images but also enables a critical evaluation of the cultural dynamics within Latin America. By doing so, Linsambarth actively contributes to the decolonization of art, offering new insights into regional socio-political issues and echoing the narratives of migrants, thereby enriching his reinterpretation of Latin American identity and history through a contemporary lens.

 

 

La Familia (2024) examines critically the contemporary cultural dynamics embodied in the social unit of the family block.
Each member of the family portrayed seems to be absorbed and abstracted in his or her own mental busyness, sustaining the increasingly common interpersonal disconnection. Thus, what seems to resemble the typical family photograph, where everyone is dressed especially for the occasion, finds repercussions in each viewer, raising the question of the meaning and genuineness of sustaining the socioculturally learned protocols without mutations.

 

 

 

My First Communion (2024) brims with subjectivity by allowing a unipersonal psychological perspective to govern the pictorial plane. The composition is permeable to the story told by the central character, a child who after being initiated by a religion is reunited with his family. Through this visual and compositive subjectivation, some elements in the background dislocate the perception of the whole. Linsambarth himself discovers the whisper of the story depicted in the pictorial materialization, allowing his personal archive of family and political memories to interweave the fictional message, inviting the viewer to reinterpret its meaning.

 

 

 

The Goodbye (2024) presents a last encounter that is foreshadowed with tearfulness. In the piece, the latency of an uncertain future coexists with the nostalgia of what has not yet been consummated, symbolized in the intertwines of corporealities. In the conceptual interpretation of rituals, Linsambarth emphasizes the ceremonial sensibility that emerges in the midst of the mundane and hectic bustle. Like a hug linking the dimension of "here" and “beyond,” each encounter is a farewell.