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The work of Ad Minoliti’s (Argentina, 1980) uses geometry and color to build non-binary speculative fiction, that becomes the basis of different bodies of work. For Minoliti, geometry is the best tool to represent and explore the possibility of a non-human heterotopia—an alternative universe in which certain theories that interest them can be applied onto the pictorial language, helping us understand and experience the visual world around us from a different perspective.
Following the line of some of their recent research on queer ecologies, JARDÍN invites us to rethink the idyllic/fantastical ecosystems of fairy tales and cartoons from the 60s and 80s, using motifs of jungles and forests while integrating fauna and fungi into the traditional geometric language of their painting.
The work of Ad Minoliti’s (Argentina, 1980) uses geometry and color to build non-binary speculative fiction, that becomes the basis of different bodies of work. For Minoliti, geometry is the best tool to represent and explore the possibility of a non-human heterotopia—an alternative universe in which certain theories that interest them can be applied onto the pictorial language, helping us understand and experience the visual world around us from a different perspective.
Following the line of some of their recent research on queer ecologies, JARDÍN invites us to rethink the idyllic/fantastical ecosystems of fairy tales and cartoons from the 60s and 80s, using motifs of jungles and forests while integrating fauna and fungi into the traditional geometric language of their painting.
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