by Laeticia
Matilde Marín and Carolina Antoniadis
Two contrasts: Matilde Marín (1948) and Carolina Antoniadis (1961). These two artists are the center of the current exhibition in the high-profile Del Infinito Art Gallery, which has branches in Buenos Aires and Bogotá.

From the proposal of the gallery, it stands out the detailed curatorial setting of the artworks. A great deal of attention was placed on the lightning and disposition of the art pieces –something that fosters the opposition and complementation of both artistic productions.

Marín and Antoniadis paintings are dissimilar in color, materials and lightning. The beauty of the two artists, vagrant in language and poetics, melts together in a rhythmic and organic manner.

When you enter the room, the magnitude of the Cloak of Utopia installation by the artist Marín dazzles the viewer. The artwork, on the shape of a mural that interlaces multiple, small hand-made papers treated under oriental techniques which were later engraved, burned or pierced, was mounted and installed directly inside the gallery area, adjusting the piecesite -specifical format on the wall where it was going to be displayed.

The series Murals by Matilde Marín –developed since 1997 as a non-traditional graphic work– represents, like the vast body of its work, the role of the artist as the witness of the story behind diverse events. The silent, ancient and fugacious murals are the ones which are engraved and printed in people’s minds and cultures. “The idea of working on murals is related to the need of separating the engraving from the fixedness of common supports; converting it in an object installed in a real place –one that includes and wraps the spectator", Marín explains. To the Cloak of Utopia, it joins the Voyage video (4’55’, 2002), where the metaphor is the face of a young woman that becomes an adult as a result of the path leaded by her choices. The piece deals with the concept of emigration and nomadism that force human beings to find themselves in a state of transit. Assorted itineraries that will reveal a path of traces and myths over time.

In the Small room, Antoniadis welcomed us with two wall installations made in pottery and gold. Interested in limits and ambiguity between art and design, she adds objects and paintings that work as independent elements with a complementary narration.

Ceibo suites evokes exquisitely recollections, fears and surprises that dangles the curvy morphology of the national flower. On the artist's own words, “Crowns has many interpretations in my opinion: they could be taken as decoration on a funeral or as the crowning realisation of triumph.

I’m not trying to give a narrow meaning to the work. The reason I selected the ceibo flowers was simply because they always have a morphological appeal to me due to its complexity.”

In front of the Ceibo Suites, the Family Constellation installation is displayed –a series of micro-stories where the iconology of the normal appearance of paintings is surrounded by miniature children faces treated with gold. Unlike the aesthetic of Antoniadis’ renowned and outstanding Neo-Baroque paintings, her pottery objects convey a language more syncretic about both the feminine icon and the composition of feminity.