In the works of Gabriel Chaile (Tucumán, 1985) there is a critical-poetical intersection between anthropology, the sacred and its rituals, the political, and pre-Columbian communities of South America, interpreted artistically and with certain eccentricity and sense of humor. Gabriel carries out his anthropological and visual research beginning from two key concepts that are present all across the body of his oeuvre. These are the engineering of need, consisting on creating objects and structures from art that collaborate in improving the conditions of a certain borderline situation; and the genealogy of shape, which implies acknowledging that every object in its historical repetition provides a story to tell, that is recovered and updated in relation to the new context. The artist utilizes both axioms to make sculptures, do paintings, and build big scale installations that allow several communities overshadowed by history and power structures to gain visibility and have a voice. Gabriel acts like a visual anthropologist: he studies his surrounding context, deconstructs it in new morphologies, charges it with new meaning and throws it into the world in the form of objects and images inviting to reflect on the relation between each other.
His latest works include: The wind blows where it wishes, curated by Cecilia Alemani (High Line, New York, 2023), Time, Times, Half a Time (BARRO, New York, 2023), Where are the Heirs of these Forms? (De Singel. Amberes, 2022), Migrantes são bem-vindos (Kunsthalle Lissabon. Lisbon, 2022), The Milk of Dreams, curated by Cecilia Alemani (59th Venice Biennale, 2022), Anozero, curated by Elfi Turpin & Filipa Oliveira (Coimbra Biennial of Contemporary Art, Portugal, 2022), The Sowers, curated by Anissa Touati & Nathalie Guoit (Fondation Thalie, Brussels, 2021), Soft Water Hard Stone, curated by Margot Norton & Jamillah James (New Museum Triennal, New Museum, New York, 2021), Pés de Barro curated by Chús Martínez & Filipa Ramos (Galeria Municipal o Porto, Portugal, 2021), Esta canción ya tuvo aplausos (ChertLudde, Berlín 2019), Genealogía de la forma, curated by Andrea Fernández (Barro, Buenos Aires, 2019), Diego, curated by Cecilia Alemani (Art Basel Cities, Buenos Aires, 2018), Sonia (El ondulatorio, La Rioja, 2018), Proto, una película de Gabriel Chaile (Galería Ruby, Buenos Aires, 2017), Patricia, curated by Laura Hackel (Museo de Arte Moderno, Buenos Aires, 2017), Mi nombre es legión porque somos muchos (Centro Cultural San Pablo T, Tucumán, 2016), No es mi culpa si viene del río (Centro Cultural Recoleta, Buenos Aires 2015), Salir del surco al labrar la tierra, delirios de grandeza II (Fondo Nacional de las Artes, Buenos Aires, 2014). Chaile has participated in art fairs such as Art Basel (Basilea), The Armory Show (New York) arteBA (Buenos Aires) and Art Basel Miami Beach (Miami). He has been part of many collective exhibitions in Tucumán, Lima, Montevideo, Paris, Cuenca and Buenos Aires and in 2019 he participated in Bienal de Arte Joven (CCRecoleta, Buenos Aires, 2019), BienalSur curated by Leandro Martinez Depetris (EAC, Montevideo, 2019) and “The last supper” in Faena Festival (Miami Beach). He lives and works between Buenos Aires and Lisbon.
In the realm of fleeting temporality, where different possibilities of the future intertwine and present themselves as specters, the work of Gabriel Chaile unfolds as parallel existences, untraveled paths converging towards the profound. We are excited to present his first solo show at BARRO New York.
Daniel Gigena, “Gabriel Chaile. La llama del pícaro espíritu de denuncia”, La Nación, Argentina, Buenos Aires, 2017
Laura Isola, “Variaciones del sincretismo”, Perfil. Argentina, Buenos Aires, 2017
Martín Legón, “Patricia” Revista Otra Parte, Argentina, Buenos Aires, 2017
Andrei Fernandez, “El poder y las formas”, Ramona, Argentina, Buenos Aires, 2014
Andrei Fernandez, “Comunes y suspendidas, las cosas”, Ramona, Argentina, Buenos Aires, 2012
Ramiro Quesada Pons, “Artista x Artista: Gabriel Chaile por Quesada Pons”, MDZ, Mendoza, Argentina, 2013
Jorge Figueroa, “Cómo explicar el arte a una mascota” La gaceta, Argentina, Tucumán, 2010
28.03.2024 On Thursday, April 4, BARRO New York opening Joaquín Boz’s solo exhibition “Fluid Boundaries”. This selection of work delves into the issue of contingency through abstract painting. Boz methodically explores materials and technique, each artwork keeping the record of a thoughtful dialogue between artist and matter.
21.03.2024 Fantasía abstracta, Nacha Canvas’ first solo show at BARRO as an invited artist. Curated by Carla Barbero and Javier Villa, the show is a soft and sensorial perspective on abstraction presenting a group of paintings and reliefs produced with techniques developed by the artist, combining foam rubber, clay, steel, plaster and pigments.
01.02.2024 With works of Ad Minoliti and Catalina Schliebener Muñoz, this show explores queer approaches to abstraction through the use of colors and shapes that articulate non-binary narratives which counter the coloniality of gender, sexuality, age, and interspecies life.
25.01.2024 With works by Ad Minoliti and Catalina Schliebener Muñoz, this show explores queer approaches to abstraction through the use of colors and shapes that articulate non-binary narratives which counter the coloniality of gender, sexuality, age, and interspecies life. At BARRO NEW YORK curated by Nicolás Cuello and Syd Krochmalny. Until march, 2024.
31.12.2023 BARRO wishes you a very happy holiday season and a great start to 2024! Thank you for sharing this year with us.BARRO BUENOS AIRES Closed for vacations between January 13th and 31st.
06.12.2023 Miami, Florida USA. BARRO presents a series of works by Joaquín BOZ, Matías DUVILLE, Lucrecia LIONTI and MONDONGO. The selection of pieces proposes questions linked to the power of labor, immigration, consumption vs. production or materials as an available resource. Booth C49, MIAMI BEACH Convention Center, Florida. From 8 to 10, december 2023
15.11.2023 The Argentine art collective, Mondongo, comprised of Juliana Laffitte and Manuel Mendanha, is renowned for its innovative use of unconventional materials in its production, such as meat, threads, plasticine, and wax. This approach not only challenges traditional notions of “painting” but also broadens the expressive possibilities of the medium. Until January 6, 2024
10.11.2023 BARRO presents Danza Perfumi, Alejandra Seeber’s third solo exhibition at the gallery. In line with these recent exhibitions and the work that the painter has been carrying out for years in the international scene, Seeber’s proposal deepens a way of understanding painting as an environmental device.
09.11.2023 Under the title Memory is an Editing Station, the exhibition dialogues with the event’s long trajectory, while simultaneously reflecting on the present moment of the world and pointing to future paths, through the works of 60 artists from the Global South. Videobrasil 22ª edition at Sesc, São Paulo.
09.11.2023 “Welcome” highlights the inherent connections between various urban experiences, emphasizing their relevance in the global south landscape. The exhibition challenges pre-established perceptions and offers a deep insight into the social complexities related to marginality and media power. Opening Nov 15, BARRO NEW YORK
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