MANUELA VIERA GALLO
Manuela Viera Gallo (Rome, 1977)
The artistic practice of Manuela Viera Gallo which moves through different formats, appears diverse, fantastic and filled with black humor. Manuela presents an eclectic body of work that comes from an interest in experimenting with the direct relation and reaction of the public with the work of art, as the biggest representation of the socio-political relationships.
Born during the exile of her parents in Rome, her point of view since then has been very influenced by the social and political violence that affected a big part of Latin America. She creates abstract paintings and installations that often reveal beautiful and mysterious nightmares and memories of lost places.
Her video career is composed of a dozen mini-presentations that use the language of movies and mass media to elaborate a pseudo apocalyptic trance about the current state of the world by using images that used to be political and cultural dogmas that are shown crashing and falling like glass figurines, frail and useless.
An installation of more than 15 wooden pigeons with heads that range from surveillance and paparazzi cameras to safe deposit boxes and grenades. Nodding to the media, some of the birds also feature emoticons. They appear to be lurking from a network of geometric branches that form dollar signs and justice scales, in a playful yet sinister allegory infused with facial expressions and masks like tribal idols. The installation evokes nature as a metaphor for cultural propositions and political statements.
As a “pigeon fiction”, the installation features several characters that represent different actors involved in intelligence operations during international crises, all appearing erratic and paralyzed in the midst of chaos and despair. They are headless birds defending a doomed nest.
Staged as a modern-day fable of miscellaneous avian figures situated in a tense power struggle and conspiracy, the characters are trapped in what seems to be a collusive and murky survival alliance of precarious balance. They engage in diverse and simultaneous discourses concerting dealings and secret negotiations that shall perpetuate each power, ideology or species.
Manuela Viera Gallo was born in Rome, Italy in 1977 during the exile of her parents. She went back to Chile in 1984 where she studied Art at The Catholic University of Santiago de Chile. She has lived in New York since 2005.
Manuela has been credited with several distinctions and in 2010 was established as a strong young artist within the local and international circuits. She has exhibited her work internationally having solo shows at La Central Gallery, Bogota, Colombia (2013), Aninat Gallery, Santiago, Chile (2013), Y Gallery, New York. USA (2010), Valenzuela & Klenner Foundation, Bogota, Colombia (2007), Broadway 1602 Gallery, New York, USA (2007), Die Ecke Gallery, Santiago, Chile (2006; Rebecca Container Gallery, Genova, Italy (2005), 24/7 Gallery, East End London, UK (2002). She has participated in several group shows at Mueso del Barrio, Art Museum of the Americas, 10th Biennale of video and media Arts of Chile, CIF, Camdem International Film Festival, Asymmetrick Arts Center, Chelsea Art Museum, East Asia Contemporary Museum or 5th Biennial do Mercosur, among others.