Gabriel Chaile
Irene, 2016. Sculpture, adobe, wood, soil and bronze. 160 x160 x 200 cm
Patricia, 2017. Sculpture, adobe, iron, bricks and eggs. 320 x 150 x 210 cm
Patricia, 2017. Sculpture, adobe, iron, bricks and eggs. 320 x 150 x 210 cm
No es culpa mía si viene el rio, 2015. Installation. Wood, soil, metal structure, water tanks, bronze and guitar strings. 1200 x 400 x 200 cm
Pequeños grandes personajes (el velero, el farolero, el granadero, el realista, el caballero). 2008. Photo-performance. 180 x 120 cm. Edition 5 for each
Pequeños grandes personajes (el velero, el farolero, el granadero, el realista, el caballero). 2008. Photo-performance. 180 x 120 cm. Edition 5 for each
Pequeños grandes personajes (el velero, el farolero, el granadero, el realista, el caballero). 2008. Photo-performance. 180 x 120 cm. Edition 5 for each
Pequeños grandes personajes (el velero, el farolero, el granadero, el realista, el caballero). 2008. Photo-performance. 180 x 120 cm. Edition 5 for each
Pequeños grandes personajes (el velero, el farolero, el granadero, el realista, el caballero). 2008. Photo-performance. 180 x 120 cm. Edition 5 for each
Principios generales, 2014. Installation. Renaissance room of the MNBA. Metal structures, bricks and eggs
Una serie de situaciones (espacio de contingencia), 2015. Installation. Metal structure, 500 bricks, flour, egg, bird, cups destroyed and rebuilt. Variable measures
Daniel, 2010. Photo-performance with my lamb Daniel. Variable measures
Daniel, 2010. Photo-performance with my lamb Daniel. Variable measures
Daniel, 2010. Photo-performance with my lamb Daniel. Variable measures
Daniel, 2010. Photo-performance with my lamb Daniel. Variable measures
El principio de la belleza está en el fin de la misma, 2011. Instalation. Paintings, oil on wood, bronze sheet. 1000 x 230 x 100 cm
El principio de la belleza está en el fin de la misma, 2011. Installation (detail). Paintings, oil on board, bronze sheet. 1000 x 230 x 100 cm
El principio de la belleza está en el fin de la misma, 2011. Installation (detail). Paintings, oil on board, bronze sheet. 1000 x 230 x 100 cm
Contemplando es como fuimos cambiando (serie), 2012. Graphite on paper. Series of 25 drawings of my direct parents. 40 x 30 cm
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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.
exhibitions
Los jóvenes olvidaron sus canciones o Tierra de fuego (Parte II)
16.11.2024
BARRO Buenos Aires presents Los jóvenes olvidaron sus canciones o Tierra de fuego (Parte II), the second exhibition by GABRIEL CHAILE in the gallery. With a text by Filipa Ramos, the show presents a new line of work the artist began this year and consists in a film with mural drawings made from adobe and iron.
news
27.03.2025 CHAILE At the 14th Mercosul Biennial
publications
Patricia, Gabriel Chaile. Museo de Arte Moderno de Buenos Aires. 2020
links
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
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