Portfolio Diego Masi 10 2013

7/27/2019 Portfolio Diego Masi 10 2013

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DIEGO MASIPORTFOLIO


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The framework of silence

The work of Diego Masi is the product of extensive travel and research in the field of audiovisual production.His work requires a type of attention, both in form of its definition pictorial as in other project types that refer to complex instaprojects urban intervention marked a new way of seeing and making art in the city.

His painting is a force field, subject to constant contrast of black and white, achieving multiple planes with prospects that are losand turns.In the process, the work takes on a peculiar physiognomy type, each layer of paint is combined multiple eye movements and pcapture what the artist proposes as action device in the plane, an endless exercise speculate that under guided by overlapping contrast and rise from the plane.This movement seems at times to give life to characters of amorphous proportions result from a concentrated and profound irproposes a meeting with this world of strange that spill over a pure white background.It is from there that materializes part of the work that the artist has, in proposing intervene in the window of the room with a devfunctionality makes long cables pendan as black lines on the plane and only move when the public that travels the room approseries of threads. The move is seen only from the visual, not there is another type of symptom that alerts on event.The artist actuates a device that extends beyond the line and the point on the plane and kinetic component of the work, Masi m

summon the world that installs in the canvas through a masterful technique and generates artifacts that follow the beat of his painto three-dimensional.The silence in his work is the framework in which they operate the forces arising from the perspective of Another, the Ocompromises their mobility and becomes part of the actual playing space and reproduction of sense enjoyment commissdisruption of the work of art.

Ms. Jacqueline Lacasa.Art critic, curator, artist and former director of the National Museum of Visual Arts.June 2011.


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Geometric codes

The repeatability of the measurements and shapes with elements referring to organic generated by the order, the difference, simproportion, disproportion me about a geometric art.

These measures and codes operate not only in my painting but from the urban public space through interventions orelectromechanical installations where physical movement is generated.The absence of clear references and symbolism is the result of my abstention by any attempt to influence the viewer. No represbut an interpretation necessarily conceived differently by viewers.I understand the appearance of these works as a depiction of elements within a geometric arrangement, the line and the benhorizontal and vertical turn exclude all harmony in favor of an expression aligned.The recurrent use of white and black two-tone serves as structural support me to work from the opposite and create a sort of binaMy composition is linked to what we might call "organic geometry" in which the symmetry can be a very valuable. Here yopossibility to perceive my work as something new, even from the naked eye shapes that might appear as already known.The geometry is a construct of human thought beyond organic is always inherent to the structure of living things, in this sense think these works as a potential dialogue with nature, although it must be said that we are also part of it.

Then, it is possible to ensure that my work interprets shapes from geometry in a process in which nature is present as a construccontinually transforming.

All my activity over the years confirmed the conviction and desire there to perform works according to these codes.

Diego Masi


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CURRICULO

Diego Masi.Born in 1965 Montevideo, Uruguay, lives and works in Montevideo.2012 Introduction to Robotics with Arduino, MVDrobotics.2010 Workshop Introduction to physical computation by Daniel Argente, National School of Fine Arts, Montevideo.Workshop Puredat + Minitronics by Servando Barreiro, Spain Cultural Center, Montevideo.2005 Use the felt in art, workshop with Siv Goranson, National School of Fine Arts, Montevideo.1987 to 1993Graduated at National School of Fine Arts, Montevideo.

Muestras individuales. Seleccin de instituciones/ So lo exh ib it io ns .Figari Museum, Montevideo, Uruguay. / Museum of Contemporary Art, Montevideo, Uruguay. / Espacio 304 Art Gallery, San JuanRico. / Lust Gallery, Mitte, Berln. / Promo arte Gallery, Tokio, Japn. / CCE, Cultural Center of Spain, Montevideo, Uruguay. / GeEmbassy in Montevideo, Uruguay. / Cultural Center, La Paloma, Rocha, Uruguay. / Uruguayan Embassy, Santiago de Chile, ChilCultural Space La Spezia Montevideo, Uruguay. / Ciudadela Gallery, Punta del Este, Uruguay. / 121 Jos Ignacio, Maldonado, UrMadredeus, Montevideo, Uruguay. / We sound center, Montevideo, Uruguay. / Cultural Center Kavlin, Punta del Este, Uruguay.


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Muestras colectivas. Seleccin de instituciones/ Gr oup ex h ib it io ns .Engelman Ost Collection, Montevideo. / Batuz Foundation, Montevideo. / Torres Garca Museum, Montevideo. / Latina Gallery, M/ Contemporary Art Museum, Montevideo. / Alianza Uruguay United States, Montevideo. / Visual Arts National Museum, Montevid/ Marte Upmarket art gallery, Montevideo. / Gallery del Paseo, Manantiales, Punta del Este. / EAC Contemporary Art Space, MonMuseum Gallino, Salto . / Gallery SOA, Montevideo. / National Museum of Visual Arts, Montevideo. / Art carrasco, Montevideo. / A

/ B.I.D., Retz Passage, Paris, France. / Palais de Glace, Buenos Aires. / Legislative Building, Montevideo. / Ottawa Chancellery GCanada. / Museum, Releigh, North Carolina. / Womans National Democratic Club, Washington D.C. / ArteBA, Buenos Aires. / CuBiennale, Crdoba, Argentina. / Washington Convention Center. / Uruguay Cultural Foundation for the Arts, Washington D.C. / Mthe Americas, San Juan, Puerto Rico. / Mexican Institute of Culture, Chicago. / Latino Art Museum, Pomona, California. / Art NewMuestra 2, Mxico D.F. / OEA, New York. / MoLAA Museum of Latin American Art, Los ngeles, CA. / Main Library, Miami. / EnlaGallery, Lima, Per. / Espacio 304 Gallery, San Juan, Puerto Rico. / B.I.D. Cultural Center, Art Collection, Washington. / Circa, SaPuerto Rico. / Promo arte, Gallery, Tokio, Japn. / Baiksong Gallery, Sel, Corea. / Arkansas Arts Center, Estados Unidos. / TaksGallery,Kuala Lumpur, Malasia. / ARTSingapore. / Shanghai Art Fair, China. / Ochre Gallery,Melbourne, Australia. / Art Madrid, Opera Gallery, Venice, Ginebra, Monaco, London, Hong Kong, Dubai, New York, Paris, Miami. / The Korean Foundation CulturalCenter, Seoul, Korea. / ArtVerona, Italia. / C.A.F. Gallery, Caracas, Venezuela. / 2010 Fine Art Gallery, Ciudad del Cabo, South ABahrain Financial Harbour (BFH), Emiratos rabes. / International Art Biennial SIART, La Paz, Bolivia. / Innovador Gallery, Carac

Venezuela. / Altamira, Caracas, Venezuela. / FIAAM Art Fair Maracaibo, Venezuela. /UAEMEX, Mexico City. / Cultural Center MSantiago de Chile. / Altamira, Caracas, Venezuela. / Art Madrid. / Legacy Fine Art, Panama. / Museum of Modern Art in Chiloe, C


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Seleccin de premios y distinciones/ Sc ho la rs h ip s an d ac knowledgem en ts .2012. Third Prize, 55th National Visual Arts Prize, National Museum of Visual Arts, Montevideo.2003. Third Award of Professional Pension Fund, Uruguay.2001. Fourth Award Something Special, Uruguay.2000. First Award Uruguay, ArteBA, Argentina.

Second Award BHU Bank of Uruguay.1999. Mention Award, Seventh Chandon International Art Biennale, Buenos Aires, Argentina.Award, First Art Biennale, C.A. Pearol, Uruguay.1998. First Award BHU Bank of Uruguay.Award, BNai BRith Foundation, Uruguay.Award, VII Salto Art Biennale, Uruguay.Mention Award, Banco Repblica, Uruguay.1997. First Award, Ministry of External Affairs, Uruguay.

Award Capital Founds, Uruguay.1996. Award, IV Salto Art Biennale, Uruguay.Mention Award Uruguay Post office, Montevideo, Uruguay.

1995. First Award, 100 Years of the Venice Art Biennale, Museum of Contemporary Art, Uruguay.1994. First Award, VI National Show of Young Plastic Artists Coca Cola, Uruguay.Mention Award Museum of American Art Biennial, Maldonado, Uruguay.1992. First Prize Uruguayan Advertising Circle, Montevideo, Uruguay.1979. Mention Award, Drawing Student, OEA, New York, Estados Unidos.1985. Mention Award, Lions Club, Montevideo, Uruguay.


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Participacin en Bienales/ B iennal s .2013. Salto, Art Biennale, Uruguay.2012. V International Biennial UAEMEX, Mexico City.2011. Salto, Art Biennale, Uruguay. / International Art Biennial SIART, La Paz, Bolivia.2000.International Art Biennial Cuixart, Crdoba, Argentina.

Seventh Biennial Chandon, Buenos Aires, Argentina.1998. VII Sacred Art Biennial, Buenos Aires, Argentina.1995. Museum of American Art Biennial, Maldonado, Uruguay.1993. Museum of American Art Biennial, Maldonado, Uruguay.

Participacin en Ferias Internacionales / Internat ionals art fairsArt Miami, Florida, Estados Unidos.Art Verona, Italia.ChAco. Santigo de Chile, Chile.

ArteBa, Buenos Aires, Argentina

Mexico II, DF, Mexico.FIAAM Art Fair Maracaibo, Venezuela.Art New York, Estados Unidos.Circa, San Juan Puerto Rico.

ART Singapore, Singapore.Shanghai Art Fair, China.

Art Madrid, Espaa.


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Principales Intervenciones Urbanas/ Ma in Urban Per fo rm an ces .2006. Taxi Gallery San Juan Puerto Rico.2004. Work on the facade of Espacio 304 Gallery, San Juan, Puerto Rico.1999. Polka-dot on Ice, carbonic compacted snow on the esplanade of Sols Theatre, Montevideo, Uruguay.1998. Polka-dot in the Sols, adhesive vinyl on the columns of Sols theatre, Montevideo, Uruguay.

History of Horses, adhesive vinyl on the horses of Jos Bellonis sculpture, El Entrevero, Montevideo, Uruguay. Seleccin de colecciones pblicas/ Se lec ti ons of pub li c Co ll ec ti ons.

Art Collection Jean et Colette Cherqui, Paris Francia.B.I.D. Art Collection, Washington.Uruguay Cultural Foundation for the Arts, Washington.Washington Convention Center, Art Collection.

Art Collection Bank of the province of Buenos Aires.National Museum of Visual Arts, Art Collection, Montevideo, Uruguay.Museum Gallino, Art Collection, Salto, Uruguay.

Art Collection, Coca Cola, Montevideo.

BNai BRith Foundation, Uruguay.Art Collection Bank of the Republic Oriental of Uruguay, BROU.Art Collection Banco Hipotecario, Montevideo, Uruguay.Ministry of External Affairs, Uruguay.SIART, La Paz, Bolivia.UAEMEX, Mexico City.C.A.F. Gallery, Art Collection, Caracas, Venezuela.Opera Gallery, New York, Paris, Dubai.Museum of the Americas, San Juan, Puerto Rico.Mexican Institute of Culture, Chicago.Fedorova Cultural Foundation, Lugano, Switzerland.


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PAINTINGS


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TITLE: GEOMETRICOBA471MEASURES: 158 cm. x 158 cm. x / 62 X 62TECHNICAL: Acrylic paint on canvas


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TITLE: GEOMETRICO ZE430MEASURES: 109cm. x 158 cm. x 12 CM / 42 X 62 X 5 (Canvas pushed from behind) TECHNICAL: Acrylic paint on canvas


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TITLE: ENCUENTROMEASURES: 158cm. x 158 cm. X 12 cm. / 60 X 60 x 5 (Canvas pushed from behind)TECHNICAL: Acrylic paint on canvas


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TITLE: NACIMIENTOMEASURES: 158cm. x 158 cm. X 12 cm. / 60 X 60 x 5 (Canvas pushed from behind)TECHNICAL: Acrylic paint on canvas


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TITLE: GEOMETRICO LR457MEASURES: 102 cm. x 102 cm. x 12 cm / 4 0 X 40 x 5 (Canvas pushed from behind) TECHNICAL: Acrylic paint on canvas


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TITLE: ESPERANZADOMEASURES: 102 cm. x 102 cm. / 40 X 40 TECHNICAL: Acrylic paint on canvas


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TITLE: MALASIAMEASURES: 102 cm. x 408 cm. / 40 X 160TECHNICAL: Acrylic paint on canvas


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TITLE: DESARROLLO GEOMETRICOMEASURES: 158 cm. x 316 cm. x / 62 X 124TECHNICAL: Acrylic paint on canvas


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TITLE: GEOMETRICO ZD429MEASURES: 158 cm. x 158 cm. x / 62 X 62TECHNICAL: Acrylic paint on canvas


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TITLE: GEOMETRICO CM472MEASURES: 158 cm. x 158 cm. x / 62 X 62TECHNICAL: Acrylic paint on canvas


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TITLE: GEOMETRICO CP473MEASURES: 102 cm. x 204 cm. x / 40 X 80TECHNICAL: Acrylic paint on canvas


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ELECTROMECHANICAL INSTALLATIONS AND URBAN INTERVENTIONS


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AUTONOMOUS

Figari Museum, Weathering, artistic Interventions cycleSeptember 10, 2013 , Montevideo, Uruguay.

Each year the Museum proposes Figari dialogue between current artistic creations and intellectual legacy of Pedro Figari , by cycling exhibition (called " Contacts") and open calls to the intervention of the courtyards of the museThese calls are given the title of Weathering (Latin weatherproof ? 's , Which tolerates the meanings " inequality of time" and the more common " open sky " ) , as the exhibition projects that there be made will take into account einclement an area homeless and provide an analysis - of t he natural and the artificial, of the persistent and degradable - f rom the perspective of contemporary art.But unlike previous calls that addressed the relationship between man and nature as f igariano thought , in this third edition is sought to promote a reflection on art and design taking as a starting point Pedro Figari 's performanceSchool of Arts and Crafts. Pedro Figari was appointed director of the School of Arts and Crafts between 1915 -1917 . In that short t ime had the opportunity to implement their philosophical and aesthetic ideas expressed in his treaesthetics , perfect (1912 ) and carry out a maj or educational reform. Among other actions to modernize education under his leadership were eliminated punishments and boarding system , doubled the number of workshops ( wintroducing mixed) and replaced the concept of technical apprentice by the workman - craftsman. From the point of view of content , urged a r eturn to regional iconographic sources ( Hispanic cultures ) and promoted research inflora and fauna , either as inspiration or as support material - industrial artisan creations .

Thiago Pablo Rocca, director Museum Figari

" This work seeks dialogue with the movement of Figari in its f orms and lines from the various facets of his philo sophy that still challenges us . The soft breathing of these form s is the metaphor of a living thought and continuousHere industrial materials are part of a design where crafts , arts a nd industry are mixed with contemporary materials subjected to the elements. "Diego Masi, August 2013Technical: Installation electromechanical, Materials: Engines tilers, cables, sequencer time, motion detector and cooked black cloth.

Video link: http://www.youtube.com/watch?v=0xyHDuax7fM
http://www.youtube.com/watch?v=0xyHDuax7fMhttp://www.youtube.com/watch?v=0xyHDuax7fMhttp://www.youtube.com/watch?v=0xyHDuax7fM


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"ISSUER"

Third prize 55th National Visual Arts PrizeThe jury of Cristina Bausero architect, artist and critic Carlos Capelan,Brazilian historian and curator Paulo Herkenhoff.National Museum of Visual Arts, Montevideo.

Communication is the process by which information can be passed from one entity to a nother."Issuer" is a work that plays with the metaphor of communication and exchange of feelings, opinions, or any other information. All forms of communication require a se nder, a message and a receiver intended.The installation of antennas forms a horizontal wall trying to reach the largest audience po ssible, it is as if trying to touch t hem through their telescopic mechanism, the public will step back to avoid be ing intercepted by them.Work and viewer in a dialogue faced physical reaction through a se nsor that detects and reacts to the presence of the public.The functioning of societies is possible through communication, has been how these processes can contribute to the development of a community and transform socially spheres of power also use it as a weapon to society domthe communication or modifying it at your convenience.

Technique: Electromechanical installation.Materials: automatic car antennas, sensor motion detector, time sequencer and connecting cables.Measurements: 350 cm wide x 120 cm (aerials)2012Video link:http://www.youtube.com/watch?v=ONujxeWAR-o
http://www.youtube.com/watch?v=ONujxeWAR-ohttp://www.youtube.com/watch?v=ONujxeWAR-ohttp://www.youtube.com/watch?v=ONujxeWAR-o


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"AUTOMAT"

Kavlin Cultural Center, Punta del Este, Maldonado, Uruguay, 2012.installation

It is a work expressed in a context that is based on kinetic language and registration of a situation amplified, making at t imes a tragic piece that operates from the accumulated tensions of the materials.This paper broaches the dramatization through mechanisms that are represented through wires commanded, automation and sensors to create movement by combining successively the coup and turning rubber cords on toy sostrings .The sound of this system is created by the interaction of the tires on the guitar strings that is captured for twelve m icrophones and powered by two guitar amps.These soldiers operate as regulators of the notes of the strings looking for a dramatic sound and thoughtful.Movement micromotors operated only when the public is coming.

Technique: Electro Sound installation.Materials: twelve string electric and acoustic guitar, motion detector sensor six toy soldiers, two guitar amps, stomp, twelve microphones, wooden speaker connectors and cables.Measurements: 300 cm wide x 220 cm high x 25 cm deep.

Video link:http://www.youtube.com/watch?v=p_YlN6_kBVw
http://www.youtube.com/watch?v=p_YlN6_kBVwhttp://www.youtube.com/watch?v=p_YlN6_kBVwhttp://www.youtube.com/watch?v=p_YlN6_kBVw


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"PORTRAIT INVOLUNTARY"

Kavlin Cultural Center, Punta del Este, Maldonado, Uruguay, 2012.CHACO International Art Fair, 2012.

installation

This paper broaches the dramatization through mechanisms that occur as a theater automaton, t he interaction between the forms is a metaphor of his own existence, commanded a succession of moves through wires, automatcreate movement and combined in succession, looking for a thoughtful and questioning mind.It is a work expressed in a context that is based on kinetic language dramatization at times making a tragic piece that operates f rom the accumulated tensions of the materials seeking a p icture involuntary horses heads cut off asort of trophy hunting.Diego Masi.

Materials: Toys resignificados, micromotors, motion sensor and cables.

Video link:http://www.youtube.com/watch?v=XWxMdMb_1uc
http://www.youtube.com/watch?v=XWxMdMb_1uchttp://www.youtube.com/watch?v=XWxMdMb_1uchttp://www.youtube.com/watch?v=XWxMdMb_1uchttp://www.youtube.com/watch?v=XWxMdMb_1uc


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EXISTENCEKavlin Cultural Center, Punta del Este, Maldonado, Uruguay, 2012.installation

This paper broaches the dramatization through mechanisms that are represented in a kind of a utomaton theater, the interaction between the purely geometric forms which generates a clear a llusion to one of the most influential culture, which represents a model social and thought identified with its ideals and va lues, which have been transmitted to almost all nations of the world. A model that helped establish the moral foundations of thousands of p eopDisney's Mickey Mouse."Stock" is a metaphor of his own existence, a series of breathing exercises commanded by cables, automation and motion sensors that create successively by combining inflation and deflation, looking f or a thoughtful and questthrough image one of the most rooted in our childhood memory.

Montevideo, April 2012Inflatable fabric, motor blowers, sequencers of time, motion sensor and cables.


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MADREDEUS

Montevideo, Octouber 2011Inflatable fabric, motor blowers, sequencers of time, motion sensor and cables.

Video Link: http://www.youtube.com/watch?v=ur7UAroAmIs
http://www.youtube.com/watch?v=ur7UAroAmIshttp://www.youtube.com/watch?v=ur7UAroAmIs


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"ANALOG DEVICE"

Marte Cultural Center, Montevideo.

Measurements: 70cm. x 25 cm.Technique: micromotors, telephone cables and motion sensor.2012

Video link: http://www.youtube.com/watch?v=jJi8kLR1tqk
http://www.youtube.com/watch?v=jJi8kLR1tqkhttp://www.youtube.com/watch?v=jJi8kLR1tqkhttp://www.youtube.com/watch?v=jJi8kLR1tqk


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"EXHAUSTED"

Municipal Exhibition Centre, Subte, Montevideo, April 2012.

This work reflects on the bonds and boundaries, by analogy with emotional situations. It is a mechanism that feeds redefined power and operates through a micro motor and a motion sensor as a link to create a trigger reflexive gestural mechanics. A dialogue of opposites and contradictions marked by cables where the boundary movement generates feeling tired, having a response to human presence and starting a fruitless search co ntinues for releaMaterials: plush horse, rubber cords, micromotor and electricity.

Video link:http://www.youtube.com/watch?v=VN8Csdkl2EM
http://www.youtube.com/watch?v=VN8Csdkl2EMhttp://www.youtube.com/watch?v=VN8Csdkl2EMhttp://www.youtube.com/watch?v=VN8Csdkl2EMhttp://www.youtube.com/watch?v=VN8Csdkl2EM


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"DESPITE EVERYTHING

MAPI Museum, Montevideo, 2011.

This work arises from thinking about the physical and emotional gravity, the game of words Weightlessness / Grave / Gravity.Black wires are constantly rising and falling through a micro motor mechanism, a system of pulleys and weights.The heavy, the weight of a thought, which weigh things, the ability to become less serious things.Diego Masi

Technical Data:Micro motors, motion sensor, system of pulleys, weights, directional light and black thread.

Video link:http://www.youtube.com/watch?v=7YiDmIY_ObQ
http://www.youtube.com/watch?v=7YiDmIY_ObQhttp://www.youtube.com/watch?v=7YiDmIY_ObQhttp://www.youtube.com/watch?v=7YiDmIY_ObQhttp://www.youtube.com/watch?v=7YiDmIY_ObQ


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"COEXISTENCE

International Biennial, Siart, La Paz, Bolivia.

Joints in contemporary art established certain traditions and rigidities that require coexistence of languages a nd an openness to new ways of expressions and concepts, linked to a rich recent history where the past and present dialogue in the same territory where regions are completely different and unknown.Latin American art is the interconnection of isolated local scenes together for decades, incorporating many artists to international circuits and growth of diasporas of artists in Europe and the United States. To this must be addedbelonging to a community no longer idealized past projects, but to a complex geopolitical bloc in full seizure and emergency.On the idea of American identity Gerardo Mosquera says so unbeatable, "Latin American art lives today one of his best, especially since it is ce asing to be Latin American art.""Coexistence" is a representation which attempts to cover much more of the provisions of t he order of the Latin American social policy is the reference of the interrelationships world creates a situation where everything interactssome way causing changes typical of contemporary complexity .The representation actuated electromechanical mechanisms somehow allows me to stage and choreograph the existence of these interpreters automatons that re spond to human presence through motion sensors in a kind of svideo image.Diego Masi

"Coexistence", 2011HD video color, sound, loop (12 ')

Video link:http://www.youtube.com/watch?v=EZvZsIx-8rM
http://www.youtube.com/watch?v=EZvZsIx-8rMhttp://www.youtube.com/watch?v=EZvZsIx-8rMhttp://www.youtube.com/watch?v=EZvZsIx-8rM


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"HERMETIC"

Installation, Museum of Modern Art in Chiloe, Chile, 2012

The air as a vehicle to give sustenance to the human figure in an installation of inflatable characters in motion, seeking to r eflect from the physical body language in a situation choreographic, performing breathing exercises nothing to make human absences using the vacuum protective clothing to be filled by a ir through electric current.Airtight suits designed to isolate toxic situations capable of enclosing the body and act as separators in the environment, by establishing a metaphor of human representation.

Diego Masi.

Materials: polypropylene Mamluks, blower motors, sequencer time, motion sensor and cables.March 2012.Video link: http://www.youtube.com/watch?v=esNf6vP0xI4
http://www.youtube.com/watch?v=esNf6vP0xI4http://www.youtube.com/watch?v=esNf6vP0xI4


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German mine in Australian waters, World War II

"CONNECTORS"

When we see antennas refers to communication and it is impossible not to t hink of a feeling of excessive interconnection in social networks like facebook, twitter, google +, etc.., Bombarding the information and make increachanging relationships.This project looks at first glance resemble a robotic organic representation.When visitors pass through the space white spherical objects display their antennas as trying to catch up on a search for connection, as the audience will move between the spheres, these increase in size of 40 ce ntimeterscentimeters or react with different such movements as moving people.Moving away a bit back to its original state closed.The geometry of these works reminds us of underwater mines that were used in past wars how to transpose a metaphor of violence to the thoughts.Many dictatorships base their power to control information using their power to isolate individuals and ideals.Today these antennas almost obsolete technologically avejentadas sold in Latin America to parts of the old cars t hat were part of a past economic glory.The idea is meaning to the object and interconnect to a gr oup of sensors to give greater autonomy to the mechanical operation against the p resence of visitors, create a representative chain of events, in which the viewer bemeans to channel the reaction physical and deployment of these objects.

Diego Masi.


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UNCONVENTIONAL SPACES INTERVENTION CCE

Cultural Center Spain, Montevideo, 2008. Adhesive vinyl on canvas


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"QUADRILATERAL"

Installation, Municipal Exhibition Centre, Subte, Montevideo,Brushes, motors, motion sensors and square of white acrylic paint on floor 350 cm x 350 cm.2004

Video link:http://www.youtube.com/watch?v=6uNBy-emJ0o
http://www.youtube.com/watch?v=6uNBy-emJ0ohttp://www.youtube.com/watch?v=6uNBy-emJ0ohttp://www.youtube.com/watch?v=6uNBy-emJ0o


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"THE HORSE GALLOP"

The horses (toys) and the work of Antonio Rossini come together in a progressive trivialization of cultural products, generating a logical outcome in a society that demands a reality consumable.The popularity of the works of Antonio Rossini makes mega inevitably end Chinese industry.1829 "The William Tell Overture" by Gioacchino Antonio Rossini has historically been associated with images of violence from within the Opera of great extent, and drive dramatic and lyrical.It is interesting to find similarities in different authors who chose the W illiam Tell Overture, whose works seem distant but definitely show traits that distinguish them as heirs of a cultural traditionand visual somehow manage to claim the historical memory of violence.1933 "Lone Ranger", created by George Trendle.1935 "The Band Concert" by Walt Disney.1971 "A Clockwork Orange", produced, written and directed by Stanley Kubrick."The horse gallop" manufactured in China by Yiwu Lingchao Toy Factory is a toy redefined a nd modified electronically in a position to generate choreographic reflection from a recreational standpoint.

Diego Masi,Montevideo 2010.

Video link: http://www.youtube.com/watch?v=fckTtc_rtbg
http://www.youtube.com/watch?v=fckTtc_rtbghttp://www.youtube.com/watch?v=fckTtc_rtbghttp://www.youtube.com/watch?v=fckTtc_rtbg


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"HAPPINESS"Installation

E.A.C. Contemporary Art SpaceEx Miguelete prison.Montevideo, 2010

Define the concept of happiness is an arduous task. It's probably one of the most controversial and complicated definitions. Humans have always tended to pursue happiness as a goal or an end, as a state of permanent idehowever, it seems that happiness consists of small moments, in vivid detail the day day, a nd perhaps its main feature is the futility, its ability t o appear and disappear constantly throughout our lives.Another controversy surrounding this topic is where to find happiness, if external events or materials within us, in our own internal rules. Even today it is difficult to answer this question. For this reason, and from a psycholog

view, the study of subjective well-being approach seems preferable to happiness. It is the motivation, the activity aimed at something, the desire to do so, your search, not the achievement or the satisfaction of desires, whichpeople positive feelings deeper.Happiness, a concept with deep meanings, including joy, but also many other emotions, some of which ar e not necessarily positive (commitment, struggle, challenge, even pain).During the dictatorship (1973-1985), in prison for political prisoners were Miguelete then was, until 1990 a juvenile detention center. There "were detainees for various reasons, so it seems symbolic that today there here a sHappiness ".Punset believe that happiness is mostly fearlessness, hence the search for shelter in to escape the anguish of fear and lack of sense of certain phenomena that happened around him.Submit balloons in a contemporary art space, it seems that become art objects which will obviously be in visual perception away from conceptualism, is but a sort of profane objects which have become art objects only by viinclusion in this space, trying somehow exorcise through them, all the misery of imprisonment.In our society the "balloon" is an object associated with happiness, celebration and celebration. This proj ect clearly contradiction and tries to work through this. Correctional facilities and particularly the basement of the prisowitnessed very unhappy acts of horror and scared.The meaning of the celebrations in situations of detention, drowning and claustrophobia are the initial tr igger of this project which aims to put the viewer in an interactive approach where the person enters the cell in a state oincreased by balloons they occupy in their early days about eighty percent of t he area of the cell to slowly deflating and falling va llan roof which remained suspended by helium gas, culminating after several days i n a deflatemontonera as a metaphor for the unhappiness that habit this building for many years.

Diego Masi

Video link.http://www.youtube.com/watch?v=ECMarbYwubw
http://www.youtube.com/watch?v=ECMarbYwubwhttp://www.youtube.com/watch?v=ECMarbYwubwhttp://www.youtube.com/watch?v=ECMarbYwubw


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"HISTORY OF HORSES"Intervention Jose Belloni sculpture.Fabini Square.Material: cutting vinyl adhesive on the bronze.Duration: 30 days.Montevideo, 1998.

Again, Diego Masi upholstered with some unsuspecting lunar landscape section of Montevideo. Now, moles decide to settle on Horses "Entrevero". Soothing, trying diff, perhaps excusing, the unwitting actors in this sculptuconsecration of violence, in that turbulent reminder of a not too distant barbarous country. And by the way, trying to recover the human dimension monument. Interestingly, bronze subtract gravity usually m en and their deedthe heroic monumentality and as such, the distance of the emotional memory, treasured from the simplicity warm day. We forget that these unknown beings who are stranded in the "brawl, havoc of men and beasts" were orswept away by the follies of history.So as poetic as playful, Diego Masi want to return this melodramatic mess of forms, to a spot where he can be close a nd discernible. It is not disrespect, let alone disrespect. We intend to bring the absurd tragedy of fratricidemergency delicate poetic nonsense. Does not offend, just power temporarily with faintest, almost gentle irony. Does not change, is involved, so that the eyes are used besides desentraadoramente routines and stops. Trivthe contrary, is based on the visual effect that this capture, seduce, reflective remanence to germinate. An artistic intervention imply an alteration, usually transient, the urban scenery. Departing from the museum or exhibitioprotected areas, ventures into the harsh weather of places and streets. As such, calls for a new attitude on the part of those who see. Before the rejection comfortable that cavalier disinterest rather than delighted mediocritywillingness to undertake the incomparable flights of fancy. Enter the game solemnities detached from prejudice and rhetoric. Understand that the incomprehensible, the unreasonable presumably, awakens dormant abilities relegated exercise pushes the absurd.In short, it's about accepting that rain soft and poetic. Determined with amazement momentary relief in estolideces split in calm stormy dramatics. Just that: the wonder, his brief and fascinating intensity.

Alfredo Torres (art critic)

Video link:http://www.youtube.com/watch?v=9A2v2_qTgw8
http://www.youtube.com/watch?v=9A2v2_qTgw8http://www.youtube.com/watch?v=9A2v2_qTgw8http://www.youtube.com/watch?v=9A2v2_qTgw8http://www.youtube.com/watch?v=9A2v2_qTgw8


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LUNARES EN EL SOLIS

Adhesive backed vinyl columns Teatro Solis, Montevideo, Uruguay.1998, duration 48 hours

Video Link: http://www.youtube.com/watch?v=zsKL3qE9xeU
http://www.youtube.com/watch?v=zsKL3qE9xeUhttp://www.youtube.com/watch?v=zsKL3qE9xeU


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"POLKA DOT ON ICE"

2000 liters of carbon dioxide dry ice become compacted on the esplanade of the Teatro Solis, Montevideo, Uruguay, 1999 lasting four hours.Material: snow compacted material (used by industry to manufacture dry ice).

Video Link:http://www.youtube.com/watch?v=msjDrL1pwsU
http://www.youtube.com/watch?v=msjDrL1pwsUhttp://www.youtube.com/watch?v=msjDrL1pwsUhttp://www.youtube.com/watch?v=msjDrL1pwsU


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"INTENSIVE THERAPY"

Installation, Municipal Exhibition Centre, Subte, Mo ntevideo, 1996.

It's a job where they reproduce sounds artificial respiration through a timer and control valves that generate inflation and deflation of a balloon alternately white and one blac k continuously faced with a quarter deflatedballoons. An air compressor maintains the reserve tank which will serve as a vehicle for t he mechanics of the work. Breathing as a metaphor for life, mechanical artificial and sometimes holds us to underpin our existence.Materials: Latex balloons, black fabric panels, air compressor, timer, valves and metal pipes.


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WINDSHIELD

Installation, Contemporary Art Museum, Montevideo, 1995.

It would be too simplificante interpret the collection of objects (assemblies, machinery of the absurd, or the preferred label) are metaphors referring to the violence implicit in automobile accidents. Such violence, evident in thcracked, punctured, crackle, that support basic, is just a pretext. Refined, nonchalantly, the deceptive beauty of the works multiplied allusions. As a cult altars brotherhoods practiced by motorized urban or road, d iscover othof violence. Subtle yuppimente obsessional neurosis in suits, cell phone in hand, rushing the final bur st. The very thin line between (provided you, JG Ballard) primary a utomobile accident emotional violence of tribal sexualittaboos. Violence inexorable death (final irreversible final burst) marked not only by the evidence traumatic but also the rhythmic passing of time.Diego Masi is impeccable tone to formulate this problem. No melodramatic excesses or educational voluntarism. There is a handling incisive poetic, sometimes paradoxically delicate, without losing depth know give nods to shaped candles, artificial black buds) or at mediocrity (rubber cables, suckers, white lights garland) . A poetic handling caring formalist approaches before contundencias elegantly expressive: with an accurate selection and significant elements. The artist, from pictorial territories, seems to amplify their creative skills to take spatiality. There is a history of a very good facility, with this sample, as e vidence determinants.

Alfredo Torres

Materials: car windshield, micromotors, candles, rubber cords, toys and new meaning


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PRESS


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Apr 10, 2013The IDB Art Collection joins the Google Art Project.The Inter-American Development Bank (IDB) today announced its entry into the Google Art.The IDB Art Collection has been acquired over the past five decades, creating a space where artists representing Latin America and the Caribbean can be appreciated in conjunction with renowned artists work elsewhere. Tadministered by the IDB Cultural Center and embodies the Bank's mission to invest in t he cultural and artistic development of the region.One hundred of the more than 1,700 works of art from the IDB Art Collection were selected to join the Google Art Proj ect. The resolution of these images, combined with a special zoom tool allows art lovers appreciate paintlike never before.


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Portfolio Diego Masi 10 2013

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