Found paintings, pre-existing images, surfaces laden with memory.
The intervention does not restore: it interrupts.
It does not preserve: it contaminates.
It does not quote: it reopens.
The painterly gesture etches the image and produces a temporal fracture, transforming the painting from a decorative object into a field of tension between past and present.
Even the frame loses its neutral role and becomes an active part of the work.
It is not restoration.
It is giving it a second skin.
In these works, the artist delves into the aesthetic and social experience of the contemporary city, exploring architecture, memory, and collective identity.
His painterly practice lies at the intersection of figuration and urban construction: through a masterful use of oil on canvas—and occasionally on surfaces such as aluminum—the artist explores the phenomenology of the contemporary metropolis, from the density of residential spaces to the fragmentation of everyday landscapes, to the emergence of architectural grids as a metaphor for suspended individual lives.
AMAZONIEN is a multi-sensory art installation by Marcello Martínez Vega, presented in Venice for the 61st Venice Biennale. The exhibition transforms the sacred space of the Renaissance church of Santa Maria della Visitazione into a political and ecological statement in defense of the Amazon rainforest.
The pavilion functions as an interactive environment blending computer-game aesthetics with four newly commissioned short films. The artworks weave together digital myths, ecological maintenance, and the exploration of labor and disinformation through the lens of a fictional future
The exhibition explores the spirit of community and collaboration through mixed media, cardboard, and recuperated materials. Situated steps from the Accademia and Zattere, it marks the return of the Bahamas to the Venice Biennale after a 13-year hiatus.