In alliance with GONTRAN CHERRIER we created the “GONTRAN CHERRIER Art Space” because we are interested in giving an artistic and cultural imprint to the French boulangerie and expanding the frontiers of art. We work in the management, production and curation of exhibitions and periodic artistic actions.

We think of this first group show of “La Panera” from the point of view of curatorial view as a constellation of ideas, a pooling, a dialogue between artists to visualize new connections and propose reflections.

PAN is the everyday, the simple but with a universal vocation, of totality. The sourdough of a bread is fed, grows, is shared. Similarly, to through art we create bonds and join efforts to reach new public.

“La Panera” is a hotbed of ideas, a space for exchange and dissemination for young and established artists. A meeting point where to generate actions.

We believe in the transformative power of art. Art acts on the world, about our way of perceiving and feeling. With that conviction we work.

Celina BALDASARRE / Susana CABRERA / Santiago CARRERA / Mariana
FADON / Diego FRANGI / Carolina SIMONELLI / Macky HURRELL / Luciana
RONDOLINI / Santiago AGUIRRE / Eugenia RYAN

Pía Dalesson, Rita Maschwitz y Estefanía Radnic

Carolina Simonelli is a visual artist born in 1979 in Patagonia, southern Argentina. She began in the work of paper as a matter in 2007 to the present, in an exploration that encompasses different dimensions and materialities, where color and the changes that it exerts on being, are the constant in all his works.

This work by the Argentine artist Diego Frangi is part of a series of black and white photographs taken from a helicopter in the City of Buenos Aires. Frangi was born in Buenos Aires in 1978 where he currently resides. He also lived for 12 years in the UK and 2 years in Africa. For more than 2 decades he has worked as an audiovisual producer, photographer and producer of film, TV and cultural projects. He was trained at the Diego Ortiz Mugica Studio and with Marcos López, with whom he has had a working relationship of more than 10 years directing his studio through the Project Office, a production company that he himself founded to produce and represent cultural agents.

Susana Cabrera (1950) has been in contact with the visual arts since 1974. She is also a psychotherapist. By crossing both fields, his work explores different forms and supports to work with the invisible and the subconscious, to make tangible the sphere of transcendence that surrounds even the tiniest organisms.

This work, a Gynko Biloba leaf, was part of the series exhibited at the “Linea Piensa” (CC Borges, Buenos Aires) curated by Eduardo Stupia: “With a subtle light and optical operation, Susana Cabrera transforms photography into a sharp instrument for the deployment of the line, texture and ornament, productively blurring the boundaries between tools and disciplines. In his series Aura she proposes a kind of ghostly winter garden for the poetic survival of mixed species, halfway between botanical fascination and artificial discovery. ”

In this photographic series, Santiago Carrera dialogues with the history of art, in particular with an ancient pictorial genre, linked to the centrality of the plain object. Through art, he is fixed forever and becomes immortal. The still life is chosen, ordered, organized to create a formal and chromatic style. composition, both harmonious and disturbing. Carrera immobilizes fruits, vegetables, fish, eggs, food waste; By freezing them, it creates true life in still life, united by the fragility of the ephemeral, and captures that moment in which the surface of objects retains that thin layer of frost that moistens the bright colors of the fruit. (from Gallery Doppia V catalog, Lugano, Switzerland).

Celina Baldasarre (1975) is an Architect and professor at the University of Buenos Aires. Her work focuses on collages and drawings, taking charcoal as a theme and a medium, drawing charcoal with charcoal, language is expressed through the material. The drawings make up extensive uniform textures, also dwelling on the specificity of the mineral, identifying its pattern, its unique being.

Luciana Rondolini, is an artist from Buenos Aires (1976) with an extensive career, exhibitions, awards and publications. This series refers to the Towers of Aizenberg. “To these austere and isolated structures from the world I add a decoration that might be thought unnecessary. Thus, the towers decorated with pastry sleeves and topping can be seen as wedding cakes or as dresses. They function as a small registry of possible dresses like the one I made in cardboard and stucco that is currently exhibited at the Klemm Prize. ”

Eugenia Ryan. Degree in Visual Arts (UNA). Visual artist, illustrator, presents these watercolors that are part of her series “Cover Up”.

“There is a deep association between the forest and the unconscious. Losing yourself inside it is like walking aimlessly, without the certainty of territorial limits but with the firmness of the limits of human authority. Layers of watercolor are superimposed to recompose forms. Synonymy with the processes of the functioning of memory. A raffle between the desire for durability and the destiny of disappearance. ”

Mariana Fadón (1976), is a visual artist and graphic designer born in Pehuajó (Buenos Aires province), presents two works in ink, where the manual work is diluted in an apparently perfect view. Embroideries and wefts come into play, referring to the female realm and childhood games. Patterns and molds are crystallized in a work where the structures are repeated. They reveal the slow and patient act of drawing.

Macky Hurrell is a visual artist born in Buenos Aires in 1985. Always in contact with plastic art out of pure creative impulse, she has a fascination for the organic, vegetation and animals. Much of the process of her paintings is left to chance since, on a base in which he uses graphite, acrylic and oil fixed with varnish, she begins to work with asphalt paint. This is the process that the artist prefers: the blasting with asphalt paint -which sometimes combines with oil- working it with turpentine, spatula, a cloth, the fingers, directing the game of unexpected reactions masterfully.

Santiago Aguirre is a visual artist born in 1983 in Pehuajó (Province of Buenos Aires) living in the capital for many years. In his paintings he explores humanity, analyzes the complex relationship of the human being with the cosmos, with what exists. Santiago draws graphite-based bodies with rigorous precision and admirable technical mastery. The neutral palette based on gray combined with discordant planes in primary colors, full, with oil or acrylic, isolate the figures and focus attention on them. The pose of the bodies is random, the disposition of identifiable elements is casual, it refers to a game, to enjoyment. Chance and drive are connected in a kind of free creative exercise. On the contrary, the structure, the precision, the morpho-adapted geometries pose a connection with the rational. The bodies-objects are built to be able to deconstruct ourselves, to distance ourselves from ourselves, from our stories and to contemplate reality objectively.