Las Voces (The Voices)

The imaginary Adolfo Bimer employs within his artistic production allows the public gaze to stand in front of the loss of identity imposed by the public healthcare system. Rather than morbidly obsessing over the illnesses that he imbues his pictorial and sculptural work with, Adolfo Bimer offers a democratizing approach, reclaiming the individual within the ongoing dehumanization that the healthcare systems exerts on its patients and functionaries. His work moves between the pictorial and the sculptural, infiltrating the exhibition space with countless voices without face nor identity. In Bimer’s work we find an enriching energy as the artist delves into the molecular imaginary that unites us. In this endless stream of images, whose reading results impossible to the untrained eye, we find alterity and the relentless passing of time. Within this doubly violent mechanism of translation, exercised by the State and the artist, these images are yet again abstracted in order to be resignified. Adolfo divides the space, constricting it in order to offer a plasma-like waiting room. Four hundred sixty six paintings –realized mixing varnishes with grounded pills and minerals like sulfur, calcium, iron and coal– stand before the spectator, imposing an endless wait. Here, the exhibition space becomes a cradle for one’s reappropriation of a time whose nature is symptomatic of the firm and inexorable deterioration of the human body as such. As these images are brought outside of the dryness of waiting rooms they assume a new skin, a corporality that the artist brings back to them. The waiting then becomes instrumental in resignifying the relationships that are taken away from the public system and that the artist, relying on his own experience accompanying a patient through the healthcare system, lives on his own skin and makes available to the public. In this space-time, the employees of time linger through their absence. Through the biographical, Bimer allows to establish a dialogue that unites by its diversity, by the randomness of the raw material of his works, in a constant work of translation from the molecular and apparently inert to the spatial and temporal.