In the last days, the most respected critics and media of Argentina centred their looks on the current exhibitions of Proa. Art in the Auditorium, Books of Artist, Block, Proa in la Boca and The commissures of La Boca are analyzed in their different formats (books and video) and the transformation of the exhibition spaces to turn Proa so much in a space of silence as of experimentation, according to each exhibition.
In her article of Perfil newspaper, Mercedes Urquiza emphasizes that Proa “is characterized for contributing to the agenda of the visual arts the seasoning of the exotic thing, since in its programming is dedicated to international creators not known for the local public” and the vocation of the Foundation for “turning into one of the big modals of the circuit of the Latin-American art”. On Art in the Auditorium indicates that “the sample offers a heterogeneous paneo for very recent works of young creators” and emphasizes Leandro Erlich’s presence, ” probably the Argentine young artist of major international projection “.
Ana Maria Battistozzi, in the cultural Ñ of Clarín newspaper, analyzes the different temporality and experiences that the spectator of Proa must adopt opposite to samples of different supports (the video and the book), since they are Art in the Auditorium and Artist’s Books. “So different they are as that one sends to the universe museum - library and other one, to the media evanescencia. It is enough to happen from an area to other one to notice that also it recounts to manners very separated from attention “, thinks over Battistozzi.
Battistozzi’s analysis also includes the installation Block, of Jorge Macchi: ” dispersed here and there, his drawings work as tracks to continuing in pursuit of a statement that each one can imagine to his whim”, to rescue in his article. And also he refers to “El consultorio del psicoanalista”, of Erlich: “Conceibed for an Argentinian in the mother land of Lacan, works as space to speculate of multiple implications, where the exchange of roles plays a fundamental role. But not for mere random the place of his visual concretion is the video, unique projection capable of catching the sense fantasmático that the artist has wanted to give him “, says Battistozzi.
After emphasizing also the difference between the visual supports and the printed pages, Daniel Molina, in the supplement DNA La Nación newspaper, he emphasizes that ” to Foundation Proa they allow a look of set this process that led to the arts to living in condition of permanent experimentation”. And finally, on the complete tour of the public in Proa, the critic affirms: “The total tour needs of a very relaxed spectator, capable of dedicating a long hour to seeing videoes and artist’s books. It is a kind of machine of the time that transports us to the mentality and the perceptions of another epoch, but realized with materials of last generation”.
