about the exhibition
New Works 00.3
San Antonio, TX
September 07–October 15, 2000about the artist
Dario Robleto was born in 1972 and raised in San Antonio, TX where he lives and works. After studies at the University of Texas El Paso and Yale Summer School of Music and Art, he received his B.F.A. from the University of Texas at San Antonio in 1997. He has quickly emerged as a leading artist in San Antonio, participating in group shows including Millenium Fever (1998) at Diverseworks, Houston; Inside the Loop (1998) at Blue Star Art Space, San Antonio; Trade (1998) at Salon 300 in Brooklyn; Paradise 8 (1999) at Exit Art, New York; A Girl Like You (1999) at Galerie Praz-Delavallde, Paris. Solo exhibitions have been held at Cactus Bra Gallery, San Antonio (1997); University of Houston (1997); Diverseworks, Houston (1998); Inman Gallery, Houston (1999); the Mint Museum of Art, Charlotte, NC (1999); Finesilver Gallery, San Antonio (2000); and ACME, Los Angeles (2000). As part of the Altoids Tin Canvas series, his work will adorn limited edition tins of the breath mint. In 2001 he will be the subject of a Perspectives exhibition at the Contemporary Arts Museum in Houston.
Robleto’s sculptural works draw from popular culture, particularly music and the music industry. Using the tools of a DJ, Robleto samples, cuts, mixes and spins together narratives, materials, and personal experience to create intimate, hand-made objects that are infused with romantic pleasure.
Dario Robleto was selected for ArtPace’s International Artist-in-Residence Program by Sun Jung Kim, Chief Curator of Sonje Museum of Contemporary Art, Korea. Ham is in residence with Korean Yiso Bahc and New York-based Yangah Ham.
about the project
Dario Robleto’s project at ArtPace continues his interest in popular music culture. Titled The Polar Soul, he considers the installation the third in a trilogy of exhibitions (shows at Finesilver Gallery, San Antonio and ACME, Los Angeles preceded his ArtPace residency). In this series of work, Robleto critiques the shifts in late 20th century popular music—including Peace Rock, garage grunge, Motown and Top-40 pop. Each exhibition has been marked by a performative aspect that celebrates the creation, and subsequent breakup, of the artist’s bands. Themes of production and fan culture in popular music have proven rich territory for Robleto’s investigations of love, tragedy, desire and hope.
The Polar Soul draws upon technically-oriented, heavily produced electronic music, which is often accused of being without soul. Robleto applies the metaphor of a Frankenstein-like laboratory to the fabrication of popular music. Exhibited like a cabinet of curiosities, Robleto presents a range of handmade sculptures crafted from the material of recorded music. In a collection of works derived from the Peace Rock movement, geological forms predominate: Bob Dylan’s album The Times They are A-Changing is literally melted down to become marrow in a slice of dinosaur bone; a chunk of amber is embedded with pieces of vinyl from John Lennon and Yoko Ono’s Give Peace a Chance; Stevie Wonder and Paul McCartney’s recording of Ebony and Ivory takes form as Nanosaurus Rex skull; an audiotape of Jimi Hendrix’s Purple Haze is melted down and combined with amethyst crystals as a geode. Hundreds of such objects are displayed in museum cases, creating a “rock museum.”
In his largest work to date, If We Do Ever Get Any Closer At Cloning Ourselves Please Tell My Scientist-Doctor To Use Motown Records As My Connecting Parts b/w The Polar Soul, Robleto fills a sealed room with home-made blue crystals. Visible through a Plexiglas window, the fluorescent-lit room appears like a laboratory growing organic forms—an image the artist likens to the growth and life of a band. Special tubing connects the room to a cabinet containing objects made from Motown records in the gallery, perhaps to draw breath or extract soul from these potent objects.