| Bruno Peinado (Montpellier,
1970) does not define himself as a pop artist,
yet he borrows elements, images, and messages
for pop culture to “play with their meanings,”
as he puts it, to play with preconceived or
assimilated ideas. Conceptually, he bases his
work in appropriating the iconography of our
time to build a syncretic and personal, yet
legible world of images. He is not either a
political artist, in the now ubiquitous sense
of the politic within art institutions. Bruno
Peinado, indeed, embodies multiple identities
according to the external circumstances in which
he works at a given time and plays with a myriad
of techniques in an ironic, colourful, and “easy
going” manner. It
is precisely this texture of multiple reading
and interpretative threads that has gained the
attention of critics and curators. His work
could be seen in the Biennial of Istambul (2003),
at the Whitechapel in London, at P.S.1 in New
York, at the Biennial of Sao Paolo, and most
recently at the Palais de Tokio in Paris.
Virginie
Barré´s work (Francia, 1970) could
be approached in several ways, yet her art is
clearly informed by cartoons and suspense cinema;
indeed, we find references ranging from Alfred
Hitchcock to the Cohen Brother, and from Stanley
Kubrick. What she tries to convey is a phenomenological
twist where fiction becomes reality, something
material; she constructs a crime scenario and
invites the spectator to develop the role of
an improvised detective who proposes hypothesis
concerning the cause motivating the crime.
Virginie
Barré is an international acclaimed artist.
Recently she has shown her work in Le Gras (Gennevilliers,
France), in Drawing Quake (New York), and in
Parallel Universe (UK), among others.
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