Please send me more information about it. My e mail is visionypintar@hotmail.com.

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por Joel Weinstein, ver Rotund world


we’re rooting for Karlo Ibarra. There is one cornball joke (above) in his installation Each City Can Be Another, and a clutch of good little paintings. At least Ibarra makes an argument and holds it up to various lights. There are the sports shoes high on the wall, as if dangling from utility lines as they do every city in the world. Ibarra shows us jars of filth, sort of like Collazo-Llorens does with her beach matter, although unlike Collazo-Llorens and her mania for orderliness, you can almost smell the stink of this unseemly collection.
A wall painted with a boilerplate grid of streets, called Mapa Zonográfico (above), is perhaps the centerpiece of the installation, featuring anonymous snapshots of not much, diminutive picture cards of obscure tourist landmarks, and small paintings showing street signs with place names against hazy late-day skies. We bet that Ibarra is talking about our thoroughly globalized world, one place being as good, or as bad, as another, but his argument is not the baleful cliché we’ve gotten our bellies full of lately.
Ibarra asserts himself as an artist; he personalizes even as the thing he assays is all formula and fake regionalizing; he paints by hand, as landscape painters did and do, the intersection of Cuba Street with Caracas Street, indicating by other means that this place is probably far from either Venezuela or La Habana, or it’s in one place or the other but it hardly matters anymore. That he’s telling us this with patience and good humor indicates it isn’t getting him down, yet, and that’s a message fortunately out of step with the prevailing sourpuss mode.
Each City Can Be Another is a nice blend of restrained aesthetic and nuanced tone, and Ibarra seems to possess enough flinty will—or perhaps he’s just an easy-going guy with solid, developing talent—to get our admiring attention

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