Diego Cirulli makes art focusing on historical, political and societal conflict, dealing with topics such as inequality, childhood, gender identity and the complexities of his country’s present, and its recent past.In addition, he works as a stage producer in the scenography department of the ‘Teatro Colón’ in Buenos Aires, which, along with ‘Theatre National de l’Opera de Paris’ and ‘Teatro alla Scala’, is one of the three major opera companies in the world.
He expands and crosses into new fields of work, including ‘Animales Danza Teatro’, a contemporary dance company, where he is the artistic advisor, designer and scenography producer, and ‘Kalos’, his own workshop, where he works both as a director and as an art/art history instructor.
In recent years he has held in several exhibitions, including ‘21 105 significance and redefinition of Memory Spaces’ (2012) – a solo show installation at the prestigious Haroldo Conti Memory Cultural Center in Buenos Aires,‘Public Education’ (2012) – a solo show at the Art Gallery of Altos de Chavon in La Romana, Republic of Dominica, ‘Porosidad’(2013) – a performance installation at Contemporary Art Space, Montevideo, Uruguay, ‘Hollow’(2016) – a solo show at BC Gallery in Berlin, Germany, and many other international shows.
His work has been highly praised and has received various awards, such as First Prize for Painting, Salón ‘Palermo viejo’(2011), Second Prize for Painting (2012) at Belgrano University, and Honorary Mention at the Itau Bank Prize of Arts (2014).
This exhibition, his first in Japan, is a collection of intermittent representations within the abyss. It includes approximately25 paintings on canvas, 10 drawings, 2 sculptures, and a 3 dimensional audio visual installation using virtual reality (VR). He has worked on this exhibition for over 12 months with various media, all of which can be seen in the 2 galleries.
As an experienced director of theater production and stage designer, Cirulli’s unique approach to the space and his inspiration are also in focus.
An opening reception with the artist is due to be held at 18:00 on Saturday, October 7th. In addition, a few events conducted by Cirulli himself are being planned. The details of these events will be posted on the gallery website.
The gallery will be grateful for your presence at the exhibition.
“If thou gaze long into an abyss, the abyss will also gaze into thee.”
Perhaps, the most sincere act before painting today is to be silent and remain. To remain in motion, in rotation, in wandering permeability.
Aspiring to the multiple in that which we look at; that which is fleeting, changing and formless, that which looks back at us from the cleft, pulsating worlds, tensating bodies; an identity without a face.
Losing grasp of what is supposed, finding drifting paths and inhabiting the nausea of agitated materiality, the dissolved word, the unmounted eye, becoming the cleft.
Or staring into the thickness of the void that only our fingertips allow us to know.
What remains is to acknowledge the event before painting, the collective surrender to the multiple within the image, which inhabits that created space and observes us looking at it.
This collection of works invites, in discontinuous fugues, to the ritual of death and the convolution of birth, the suicidal act of our own image. To acknowledge ourselves as an event. There, where everything withers away, where everything is new.
Born in 1981, Bariloche, Río Negro, Argentina. Lives and works in Buenos Aires.Studied painting under José Marchi and the Villagran Brothers, and also participated in the El Calor (The Heat) art seminar, as well as portfolio reviews with Diana Aizemberg and Gabriel Baggio. Later he acquired a Fine Arts Degree with Specialization in Painting from IUNA (The Institute of Visual Arts of Argentina) and set up his own art workshop ‘Kalos’ in Buenos Aires, where he works as a director and instructor. He is also a member of ‘Teatro Colón’ and the stage designer and art director of a contemporary dance company ‘Animales Danza Teatro’ . He published the book ‘21 105 significance and redefinition of Memory Spaces’ in 2013.