Inspired by consumer goods, industrial debris and autobiographical narratives and objects, Cristina Tufiño (Puerto Rico, 1982) addresses her practice as an archaeologist hoarder, rummaging through a broad cultural system of references, with a nod to artifacts and museological aesthetics. Her multimedia works arise from a process of assembling, associating, and translating images and ideas inspired by seemingly oppositional languages and spaces. For LISTE, Tufiño presents a new series of sculptures: sphinxes and objects that reference and comment on the female body and experience. Made of basic materials like fired clay and sand, and supported on cardboard boxes, they’re stacked, juxtaposed, reconfigured and adorned with jewelry made from contemporary debris. These personal items denote, comment and question preconceived notions of gender and class. Carefully arranged and selected, these disembodied figures travel through the fair preoccupied with timelessness and a myriad of personal anxieties.
The work of Ad Minoliti (Buenos Aires, 1980) is concerned with the relation between eroticism, queer theory, history and geometry; as well as the anthropological importance and social implications of architecture and design. For Minoliti, geometry is the best tool to represent and imagine a trans-human utopia in which gender theories can be applied to the pictorial language, opening new possibilities for experimenting the visual world. Through a wide range of mediums and expressions, Minoliti aims to debunk fixed ideas about gender through aesthetic confrontation and appropriation, while commenting on gender conditions. This new series of paintings, developed in residency at Gasworks, London, blend two seemingly oppositional languages; Victorian decorative arts and Arte Madí. For Minoliti, the intersection and collision of these opposed aesthetics creates a new parallel dimension; a form of science fiction that reconfigures the history of art.