Become immersed into the rush of the days not even being aware of it. Have the notion of an escape desire through intersected ducts. Want to go faster than time when it isn’t even finished (started) to conciliate it with the bodies and the world.

The obsession to find this time in permanent escape has led to Gianfranco Foschino to seek the construction of a visuality that captures those instances that nobody owns. That fantasy in which everyone can makes tangible a monument through the senses, the trick to capture the immeasurable.

“Time Lapse” is the last exhibition of the Chilean artist, will be open simultaneously until 7 May 2016 at Metales Pesados Visual and Ekho Gallery, here we can see the aesthetics exercises and the abstraction in which the artist subjects the environment and some specific places.

Get lost in the city of new individuals.

Start without a trajectory or plan. A vagrancy happening with no precedents or a purpose projection more than capture the entire contemporary people behavior in a new city model. So, Foschino begins only with a camera in his hands to capture actions that provides us the current times experiences, and where these images are delivered to the spectator –later– as an exercise of co-construction of a narrative without beginning or ending.

So in the first part of the exhibition, installed at EKHO Gallery, we face a sequence -without permission- of the most mundane and apparently insignificant actions of different individuals in the continuously resignified and rebuilt new city. Not only in the sense of new structures that appear inside, but precisely those operations are defining this new model, where alienation between people, and these with the city, is giving us the tension of an unique moment, stolen and forgotten that makes Gianfranco Foschino hallucinate.

FirstSequence I, IV, II, III, VI, V and VII are the pieces that shape this section where practices, devices, behaviors and perspectives of these new ways to live and experience the cities and the environment are mixed. In the basement of the same gallery we can see the projection wall 1065591, a 6 minutes loop positioned as an aesthetic exercise of the artist shaping their own perspective and inquietude. The register of an action without any narrative behind is prepared, the passing of time and unexpected actions build unintentionally, an apparent linearity in the register. This has been set from a camera in a long distance waiting latently to the author complete with his experience and desire, this fiction that hasn’t a declared will or desire.

The contradiction of the set eternity          

The record of different moments and operations that works in the perception of the spectator is almost like a trance, this is usually caught from an intimate relationship between the space, the device, and who is responsible for this operation. For Gianfranco Foschino is essential to become a distant spectator of what he wants to point from his perspective.

The distance is what often allows have the records and elements of the whole scenario. But sometimes it’s essential to build a visual device that allows the counterproductive nonlinear trajectory that’s able to refer us to the abstraction.

At Metales Pesados Visual, the other portion of the exhibition is executed in such a way to show that some of the pieces don’t have only one time.

Praca do Patriarca is a video-installation formed by 2 channels; show a corner of Sao Paulo that’s being inspected for the artist’s fixed camera. This place doesn’t represent any important landmark, but it shows a series of actions that occurred by the night, where the quality and light of the registration are elements that determine the elapse of the time.

A zone which the time due to his alleged curvature. Where certain feeling lead to us to the sci-fi movies, where the tension appears from the permanent wait of the end, or at least one action that will lead us to a place of answers. But no, these responses are ambivalent. They are speculations arising from these windows made by the artist, where you can travel from the unfolded invitation originally part of the pieces.

This overlap of co-realities that allows an “other route” by time and spaces that we don’t know is contrasted with another window. So in Holy Spirit #2, the spectator can immerse himself in a real time lapse. A loan of the nature for our senses, possessed by Gianfranco Foschino’s camera, where a certain portion of the Canary Islands is given like an abstraction not only of that place, but it’s also possible at the same time, the abstraction of our time and place, so all the visitors can transform for a few minutes their surrounding reality. The reality is constructed by the language; the reality is created by whatever you want there.

In Holy Spirit #1 the sensorial trick comes from the relational displacement, where the perception to which we would be exposed throughout everything provided by the artist, is altered. It’s confused the criteria established in this instance to be quickly re-established, where the still of the same named video stressed us in the waiting that something happens, that any of our senses would be surprised again. The stillness reorders the principles of this fiction directed from another reality.

Signs for a narrative

There’s no start or end point, in the exhibition’s route or in some part of Time Lapse. Exhibition of the Chilean artist who wish propound their own questions about the people’s lifestyles, and how they are able to relate or alienate itself with the environment. City and society models; with a nature whose distant and exquisite coexistence was with her at some point was getting lost. Or rather, there’s not only one reading possibility and meaning of the exposed pictures. There’s signs proposed to construct their own fiction or reality narrative, whether another desired to resignify in this ambient built from an environment that seems to be real, but the artist could show there’s not only one reality stage. Objectivity is a susceptible stage to be condensing and moving continuously, as the time and space that is sublimated to give the answers that Gianfranco Foschino proposes us to build from the exercise full of questions from the nearest world –or distant– that wants to manifest.

 

TIME LAPSE – Gianfranco Foschino
Through out 7 May 2016
Metales Pesados Visual, Merced 316
EKHO Gallery, Merced 349
Bellas Artes, Santiago