Eduardo Capilla // Trans-Visual Express - Leslie Gabaldon // Intertextuality

October 22 - December 10, 2015
Opening Reception:
Thursday, October 22, 2015
7:30 pm – 10:30 pm 



Trans-visual Express by Eduardo Capilla



Trans-visual Express meets visual aspects of different stages of Eduardo Capilla's work,which, has, been reflexively challenged from the visual language.


Since the dissolution of the subject-object relationship raised since 1982 with tempera of the Nocion project, the reuniting of individualization for the erotic motor, practiced by him for more than two decades with high relief in oil paint. The entities are part of a whole, but they beautifully unfold looking to join and merge again and again. “Life, in the tradition of visual codes”.


Eduardo Capilla, simultaneously, is introducing his book documenting aspects of the proposedresearch project Nocion, its history and some of the actions, happenings and exhibitions that have been taking place since 1984; to understand them as asubstantial and innovative contribution to the visual language, generally up to then, indeterminacy between subject and object, figure and background.


Anonymity was afeature in the development of this project, being that Capilla, having faith in its evolution, was interested in an unsuspecting audience with artistic prejudice. Such is the reason why the vast majority of these exhibitions did not have, at the time, implemented documentation of its happening, hence the lack of or insufficient photographic record.


Capilla choses to propose the impermanent work; the painting has been disappearing over the years. Installations in public and private interior spaces, restaurants, bars, cinema halls, churches, medical facilities, among others, along with hundreds of pieces in the City of Buenos Aires, New York and Caracas.


The artist offers an overview of both geometric archetypes of gestural expression associated with a contemporary treatment that succumbs to redefine the ideal landscape.


Intertextuality. Tales and Configurations as Ideas Emancipation


The critical discourse of Leslie Gabaldón is reflected in a personal project derived from her interest in documenting a powerful, intense segment of reality, the female sensibility.


In Intertextuality. Tales and Configurations as Ideas Emancipation, it seems that the artist is unable to escape herself or at least flee from her resentments, fears and oppositional stances. These feelings end up stimulating an intense interest in changing the reality of a furious world, loaded with oppression and influences that arise from male domination.


To look yourself in the face, strip down to essentials or just meditate on theambiguous mechanisms of social representation is no easy thing. The subject has already been saturated with adulation, and many layers of varnish have been slathered over the image of the woman.


In the photographic series Swallow, made up of four interrelated sets of photographs, Leslie Gabaldón reveals narrative codes linked to the dramatic imposition of stereotypes of beauty. In this work, she creates portraits of beautiful young women eagerly devouring roses in different stages of decomposition. The principle of abstaining from [any real/ other] nourishment and the varying stages of the rose’s deterioration create a painful metaphor about clichés and formal aesthetic imbalances as well as violence and degradation.


The [energy/ flow] in these portraits has nothing to do with the collective imagination; nor is it a discourse on some nutritional regimen. In fact, what the portraits show is the opposite: the act of chewing, salivating and spitting out rose petals is proposed as a critical perspective. The idea is to represent true tales based on concepts of rupture and deprivation of the formal value of equality in the woman. The series is a meditation that shows the body and the flesh in all its ambivalence; it incorporates the peril of degradation. In the end, the images are both sordid and sublime.


In the course of many work sessions with the artist in her studio, she showed a determination to enter into the experience of photography books in order to mark appendices and sections that were important to her explorations. In each of these books, we find a value of purity, sacrifice and nostalgia. In this regard, there is a desk set up in this exhibition where the visitors have access to the content of the books. These are editions that show iconographic images in photographs presented as if they were drawings or collages with certain references and functions,forms and ways of creating and representing what is female. They have a subtle solemnity and aspirations to change their modes of representation.



Throughout the photographic series that makes up Intertextuality. Tales and Configurations as Ideas Emancipation, we observe several iconographic elements that recur. We find the recurring elements in the scenes of Split,which features the arms and legs of a woman undone, no longer able to live with human unpredictability. These images leave us breathless, in a sublime series that addresses beauty and the ephemeral. Split goes to the heart of feminism; it ends up confirming the magnitude of silence by way of comparison, however invisible that silence may be.


Leslie Gabaldón undertakes nomadic peregrinations in pursuit of the flow of life; her visual approaches tackle ideas such as the exile of words. She adopts the red color of roses as a metaphor for the fluidity of blood rather than a space packaged in horror as a way of inducing pleasure.


To the artist, the female sensibility is a subversive field in which experiences may be gathered from photography and the ups and downs of relationships. These swings include dialogues between love and hatred, which appear simultaneously in deep yet unstable feelings. What underlies these images is hope and the metaphorof what is possible, an ambiguous exaltation of a profound nostalgia: loss and ecstasy, horror and pleasure. It is upon this foundation that Gabaldón constructs her poetic [identity/ worth].



Following the opening reception, gallery hours will be Monday-Friday, 11 P.M. to 7 P.M. On Saturdays private viewings will be available by appointment. 

Dot Fiftyone Gallery is located at

187 NW 27 Street - Wynwood Arts District, Miami FL 33127

Further information and visuals of the exhibition are available by calling (305) 573-9994, via e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it.  and online at www.dotfiftyone.












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