Jorge Barbi embodies one of the most interesting careers of the last twenty five years on the artistic scene, both because of the parameters in which his creative practice has been developed - especially sculpture, photography, and site-specific installations - and for his independence from the rules of the market and the general artistic system, with an inalienable attitude from which he still keeps on strolling his particular path of poetic and conceptual introspection today. The reflexion on the passage of time, the object and its context, the dialectics form-content, and the concerns regarding mechanisms of perception, are some of the constants in his work.
The title of the exhibition at MARCO, 41º 52' 59" latitude N / 8º 51' 12" longitude W, refers to the geographic coordinates comprising the area where the artist takes his daily walks.
From the early 80's onwards, Barbi has adopted the journey as a working method in order to observe a geography very familiar to him and from which he is able to extract a broad repertoire of debris and geographical accidents, a comprehensive cartography of the landscape and of the changing elements conforming it. Nature offers the artist with a whole series of objects he appropriates both because of their energetic power and for the possibility of introducing new symbolic values. Strolling around and observing animals, stones, seaweeds, plants, droppings, pieces of wood and also other objects of inorganic nature on a daily basis, make Barbi become a kind of scientist who thoroughly registers its transformations and displacements, which later, and starting from a thorough and slow process, he turns into poetic and enigmatic fragments.
The exhibition at MARCO, installed in all the spaces on the ground floor, brings together various series of photographs taken over the last few years, together with a selection of early works, and several pieces specifically designed for this show or newly produced.
The curator, Juan de Nieves, has tried to avoid the concept of customary 'retrospective' and the chronological sequences in the presentation of the works, in order to establish his own order, circular, specific for this project, which tackles the idea of process and, above all, a pathway with high poetic intensity. The installation process has taken deeply into account the exhibition concept, making the most of the combination of architectural structures, light conditions and visual resources that emphasise the relationships between the works, in a continuous dialogue with his most recent pieces. Sometimes, the pieces have become specific by means of the museum's own architecture, by transposing the works into other formats, as in the case of the works - initially sculptural - Diluculum and Aquí tampoco se desvela ningún enigma, or the large installation titled Esperanza de vida animal, in one of the patios. In the centre of the panopticon, the polyurethane disc titled Estoy perdido, no me retenga, is almost a declaration of principles, while the central gallery shelters a nine-channel projection including over two hundred photographic images of the artist's personal archive.
Curator: Juan de Nieves