with Robert Llimós, Leonardo Finotti, Denise Alves-Rodrigues, Romy Pocztaruk and Daniel Ortega
January 21 – February 28, 2020
Galería Zielinsky presents Linda Cortile, a group show that brings together the works of artists Robert Llimós, Leonardo Finotti, Denise Alves-Rodrigues, Romy Pocztaruk and Daniel Ortega.
Each of them, in their own way, explores cases where the facts lie between conspiracy theories and true stories about abductions and experiences with aliens; either through the direct contact that the artists had, or through the investigation of sighting cases. Along with this, the exhibition groups projects that investigate the Brazilian nuclear arms race during the Cold War, unusual architectures that seem to have landed on Earth from another planet, as well as geological formations created for the not-so-distant future.
“On an apartment building in front of the Brooklyn Bridge, there was a huge disk-shaped UFO. Even more incredible, a woman followed by three creatures was “floating in the air” and was heading for the ship. Once on board, the object descended at a terrifying pace towards the East River, near Pier 17 ”. This woman was Linda Cortile, allegedly kidnapped and abducted while she was in her apartment in Manhattan at the end of 1989; an event that would have been seen by several witnesses, including influential personalities.
Budd Hopkins, American painter, sculptor and ufologist conducted the investigation where two CIA agents and the then Secretary General of the United Nations were splattered in an event that three decades later continues to hold a mystery.
The case that gives name to this exhibition is the plot of a story-line that inevitably leads us to consider the most enigmatic work of the artist Robert Llimós (1943, Barcelona, Spain). The almost obsessive drift to represent the aliens that he encountered one afternoon while walking along the beach of Fortaleza (Brazil) is extraordinary in a painter of recognized talent and trajectory. After a decade since the events, Llimós still “continues along the river of misunderstanding towards the galactic sea of non-human truth” in the words of José Antonio López de Espinosa, producer, director and filmmaker.
From the hand of/With Denise Alves-Rodrigues (1981, Itaporã, Brazil), we move to the “sound facts” of the Guarapiranga Case, an event that occurred at the southern tip of the city of São Paulo in 1988, when the mutilated body of a man was found on the banks of the dam presenting signs of perforation and burns.
The ufologists collected statements from local people who talked about the appearance of lights in the night sky and strange events in the forest and argued that the body had been the victim of a violent kidnapping by aliens. The scientific police declared that the perforations were made by scavengers, and that the burns were not burns, but the result of bad photographs of a body in a state of decomposition. Reading the case and understanding that it was impossible to reach a conclusion through the story and the evidence, Alves-Rodrigues decided to approach the place and “reap the testimony of the earth and the air.”
The architecture, also an imprint on the earth and the air, comes to us in the form of photographs by Leonardo Finotti (1977, Uberlândia, Brazil) and Romy Pocztaruk (1983, Porto Alegre, Brazil) who express respectively implausible and secret constructions of state. “Casa Bola” (Eduardo Longo, Sao Paulo), appears as an extraterrestrial abode on Earth, among the grove, from a spatial perspective, while “Bombrasil” is a photographic and documentary research on the development of the nuclear arms race in the Brazilian state during the 60s and 80s, which led the Military Dictatorship to develop, in a hidden way, technology for the extraction and enrichment of uranium and the construction of atomic bombs and an atomic submarine.
In its path, Daniel Ortega (1986, Ciudad Real, Spain) sows the floor of the gallery with pieces from his Specimen series, three-dimensional objects molded from the objet trouvé on horseback between the natural and the artificial, between reality and fiction. Each set of natural rock and polyester resin prints a temporary and formal evolution, and imposes itself as a metaphorical bridge towards our civilization, where the development of the human being is distorted creating a confusing space where evolution and self-destruction converge.