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The motives.

Maxi Rossini and Fabiana Imola *

Curator:   Angeles Ascúa

1.8.19 -  31.8.19

The definition of family sentences: group of people related to each other who live together, linked by ancestry, descent, collateral or related to a lineage. Of common characteristics, these members make up what someone once called the "sensitive Rosary." It is that the artists that this city engenders share some very unique qualities, a set of evidences that configure their mood. Of my favorites are their historicist vocation and interdependence: they are in charge of writing and reviewing their memory in which they are projected together with their ancestors. Aware that the community is not only the intimate communication of its members with each other but also the organic communion of itself with its own essence, unlike other regions, Rosario authors are very fans of their precedents to which they resort on a daily basis. That is why Rosario art enjoys an awareness of location, its way of doing and way of being are combined in the way they adopt for visibility in a space of attraction. In the manner of the German philosopher who considers the earth as that place in which everything that is born is sheltered again, this sensitivity is housed and fostered in the hearts or minds of its natives.

Our exhibition could be named within the multiple epithets that the art theorists gave to this type of procedure, however none of them account for the operation. Because more than being an operation, this is a show of love.

Maxi Rossini (Leones, 1978) says that his compatriot Fabiana Imola (Rosario, 1967) had once told him about a work he had done in the nineties with fresh flowers, others stuffed, as well as seeds. These works were not exhibited beyond one occasion in 1995, about which Guillermo Fantoni testifies: “(...) in a small room surrounded by windows, an impressive floral composition was exhibited, standing on a transparent acrylic column and developed in front of an inclined plane of tulle —a fabric that with its whitish texture sifted the lights in the room and veiled the architecture in the background. In this way, the sculpture of exotic red flowers and suggestive foliage was not only unusual in the context of the visual arts of the time, but also premonitory considering the later achievements of the artist. "

Maxi arrived in Rosario in 1998 to study Fine Arts, suggestively the same year in which several of these works by Fabiana were created. It took a few more years for them to meet at the legendary El Levante space coordinated by Graciela Carnevale and Mauro Machado. Despite the multiple meetings that sheltered Imola and Rossini between dances, open river, bagna caudas and parades; Maxi had never had the opportunity to see live those early experiences of the author that would later be reformulated in the wild imaginary that characterizes her work to this day. Maxi evoked for a long time those arrangements in Fabiana's potpourri that he shares with us today in this exhibition: Were they fresh flowers? Were they drying out in the time that the sample lasted? Today he intends to illuminate this hidden section of his reference to show it together with his work, weave it and frame it. These images are related to the pieces of his authorship included in the Drawing series so as not to be surprised whose motifs are similar. These drawings portray floral motifs made on high quality paper with rotring markers or hard pencils. They are characterized by the meticulousness of the work, saturated with details and elegance. They are slender flowers of an imagined breed gathered in huge bouquets set in small disproportionate vases. There is something performative in these drawings, like a state of mind. The author makes them strand by strand, patiently continues through the stems, shoots, leaves and flowers, fruits, seeds, all with sustained intensity. In that uniform frequency it seems that he aspires to reach a disposition of meditative liberation, that moment of total absence of pain and desire - not to miss - nirvana. A few years ago, around 2012 I think it was, Maxi started practicing yoga. It acquired an impressive grace. Every two by three he searched for a video on Instagram in which he is seen almost levitating. I like to show it to my acquaintances with pride. After reaching that level, he gave up the practice. A teacher taught me that art has to do with that. Under his paradigm, the artist takes us by the hand, leads us through a dense mountain and when we come to a beam of light, he lets go of our hand.

Angeles Ascúa

* Courtesy Infinity gallery

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