Mario Pfeifer



Inkjet print on Canson 270gsm
Edition of 10

£120 (Prices for later editions will rise)

Inkjet print on Canson 270gsm, printed in an edition of 10, signed and numbered by the artist (A framed option is available for £270, framed by Vincent Lomenech).

‘Yaghan/Yagán’ relates to an essay by Chilean design scholar Hugo Palmarola, featuring in Mario Pfeifer’s book Approximation in the digital age to a humanity condemned to disappear, which discusses the Citroen Yagán Jeep within Chile’s political turmoil and economic shift from a socialist to a a capitalist industry during the coup from Allende to Pinochet. Here, the image of a Yaghan, appropriated from digitised photography from anthropologist Martin Gusinde’s archive at the Anthropos Institut in Germany, appears to look onwards towards a glossy computerised rendering of the long discontinued car bearing his people’s name with a different spelling: “Yagán”. The images of the car were especially commissioned by Pfeifer in order to reconstruct and examine a short-lived and misjudged Chilean commodity – extending the artist’s practice of detailing the cultural, economic and political situations encased within objects and their distribution.

Mario Pfeifer is an artist living and working in Berlin and New York. His work explores representational structures and conventions in the medium of film, in locations ranging from Mumbai to California, from New York to the Atacama dessert and Western Sahara. He conceives each project out of a specific cultural situation, researches social-political backgrounds and weaves cross-cultural art historical, filmic and political references into a richly layered practice, ranging from film and video installations to photographs and text installations. He is represented by KOW, Berlin. In 2012 CIRCA Projects presented his first exhibition presentation in the UK, showing Pfeifer’s early film work Untitled [Pieces of Nature]. Following this CIRCA Projects and Pfeifer worked together to create an expanded site-specific version of his exhibition Approximation in the digital age to a humanity condemned to disappear for Gateshead in Autumn 2015.

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