Ángel, ¿eres tú?, the last exhibition by David Zink Yi in the 80M2 galler y Livia Benavides is presented above all as a great narrative: a spatial essay about irresolution and the cyclical. Perhaps the exhibition can be understood as a story framed within another story, as a formal game that aims to understand cultural constructions as eminently spatial: constituted through spaces and as spaces. As in previous opportunities, the artist combines different elements of previous works to create abstract sets with a high lyrical potential.Thus, the works can be read either as independent abstract units; or rather as keys to unravel a story that can not be recognized in the first instance.
A clear example is the images that open the exhibition on the first floor, Untitled (2012), reasons for a new series still in process.These photographic essays are the result of chance: tangential products of a trip made by the artist to the mountains of Peru.These are precise shots of detail on the road that goes from the city of Chupaca, to the Huancayo entrances, crossing Chaquicocha and Yauyos to culminate in the coast in the city of Cañete.The hard light on the surface of the road accentuates textures that resemble meticulous abstract drawings. It is, above all, the registration of the marks left by the constant arrangement of the road, a stretch in permanent repair due, not only to the constant transport of the inhabitants of the communities that this road crosses but above all to that it constitutes a route of entry to various mining efforts in the area.This maintenance of the route entails the perpetual transformation of its morphology: the traces in the territory tell us of a sustained economic exchange, but the figure of the patch also refers us to the idea of the merely dermal or superficial solution of something that demands our attention . However, beyond the concrete references to the social reality of the area, the interventions on the road remind us of an infinite task: both for the workers in charge of their intervention - those who work from east to west, only to start again once that end -as for the same artist, who for the lapse of a couple of weeks went to record changes in an obsessive work without a specific purpose, as demarcating the search itself. Arranged loosely on the walls of the gallery, these track fragments, textured diagonal abstract of different sizes, point in different directions, generating a tension in the room that matches the directionality of its motive, creating disorientation, suspension.
In the smallest space of the staircase that connects the first and the second gallery,ZinkYi places a single image taken in the city of Havana.In Cuatro caminos (2011) there is a door that reveals other spaces that open up. It is a photograph taken on the threshold of a door that faces the space between four possible doors or paths. Its placement in this transitional space is not accidental, on the contrary, it becomes a sort of waters part of the narrative that opens the way to a second stage of the exhibition. On the second floor of the gallery the artist has intervened the walls directly producing diffe- rent geometric elements with frosted cement.The reliefs, reminiscent of strange urban ornaments, on the one hand refer to the representations that are at the beginning of the exhibition but in turn, thanks to their regular geometry, look like their reverse. As a complement to this intervention on the walls, the artist incorporates two other pieces that complete the circle. On the one hand, located between the walls,the video Pulsar PG-520 (2012) shows us a panning through a forest of eucalyptus trees.Using a camera stabilizer and in one shot,the artist walks among the trees surrounding some of them.The video is out of focus, as if it were a walk between dreams. Each time the image finds the focus on the texture of a tree, fragments of the second chapter of the story The Immortal by Jorge Luis Borges are heard.Th

Ángel, ¿eres tú?, the last exhibition by David Zink Yi in the 80M2 galler y Livia Benavides is presented above all as a great narrative: a spatial essay about irresolution and the cyclical. Perhaps the exhibition can be understood as a story framed within another story, as a formal game that aims to understand cultural constructions as eminently spatial: constituted through spaces and as spaces. As in previous opportunities, the artist combines different elements of previous works to create abstract sets with a high lyrical potential.Thus, the works can be read either as independent abstract units; or rather as keys to unravel a story that can not be recognized in the first instance.
A clear example is the images that open the exhibition on the first floor, Untitled (2012), reasons for a new series still in process.These photographic essays are the result of chance: tangential products of a trip made by the artist to the mountains of Peru.These are precise shots of detail on the road that goes from the city of Chupaca, to the Huancayo entrances, crossing Chaquicocha and Yauyos to culminate in the coast in the city of Cañete.The hard light on the surface of the road accentuates textures that resemble meticulous abstract drawings. It is, above all, the registration of the marks left by the constant arrangement of the road, a stretch in permanent repair due, not only to the constant transport of the inhabitants of the communities that this road crosses but above all to that it constitutes a route of entry to various mining efforts in the area.This maintenance of the route entails the perpetual transformation of its morphology: the traces in the territory tell us of a sustained economic exchange, but the figure of the patch also refers us to the idea of the merely dermal or superficial solution of something that demands our attention . However, beyond the concrete references to the social reality of the area, the interventions on the road remind us of an infinite task: both for the workers in charge of their intervention - those who work from east to west, only to start again once that end -as for the same artist, who for the lapse of a couple of weeks went to record changes in an obsessive work without a specific purpose, as demarcating the search itself. Arranged loosely on the walls of the gallery, these track fragments, textured diagonal abstract of different sizes, point in different directions, generating a tension in the room that matches the directionality of its motive, creating disorientation, suspension.
In the smallest space of the staircase that connects the first and the second gallery,ZinkYi places a single image taken in the city of Havana.In Cuatro caminos (2011) there is a door that reveals other spaces that open up. It is a photograph taken on the threshold of a door that faces the space between four possible doors or paths. Its placement in this transitional space is not accidental, on the contrary, it becomes a sort of waters part of the narrative that opens the way to a second stage of the exhibition. On the second floor of the gallery the artist has intervened the walls directly producing diffe- rent geometric elements with frosted cement.The reliefs, reminiscent of strange urban ornaments, on the one hand refer to the representations that are at the beginning of the exhibition but in turn, thanks to their regular geometry, look like their reverse. As a complement to this intervention on the walls, the artist incorporates two other pieces that complete the circle. On the one hand, located between the walls,the video Pulsar PG-520 (2012) shows us a panning through a forest of eucalyptus trees.Using a camera stabilizer and in one shot,the artist walks among the trees surrounding some of them.The video is out of focus, as if it were a walk between dreams. Each time the image finds the focus on the texture of a tree, fragments of the second chapter of the story The Immortal by Jorge Luis Borges are heard.Th