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Hermanos Videntes / Seer Brothers

“Hermanos Videntes” (Seer Brothers) is an installation consisting of a row of ten chairs mounted on rails, that go around endlessly in a circular loop via electrical traction. The scale of the installation is variable. The length and path of the rails can be modified to fit the place of exposition. The materials used are wood, appliqués and metalwork for the chairs, along with metal rails and an electric motor.

This installation was shown during October and November, 2011, at Galeria Lordi Arte Contemporáneo. Displayed around it were: large canvases, circular cotton paper paintings, smaller drawings on paper, and a peculiar decoding work on “Las Meninas" by Velazquez that could be enjoyed by blind people. The exposition comprised a wide variety of disciplines and materialities which coexisted in a scenographic space, accounting for the artist’s creativity and innovativeness.

The title was inspired by Paul Eluard’s book “Hermanos Videntes. Escritos sobre arte” (Seer Brothers. Writings about art.) In the words of the French poet:

“Here, now, these are my beliefs on artistic matters. I glance thoroughly at humanity, which has lived and has -in the face of nature, at all times, under every climate, under all circumstances- felt the imperious necessity to humanly create, to reproduce objects and beings through the arts.

Thus, I face a vast scene, of which every part interests me and touches me deeply. Every great artist has come to bestow upon us a new translation- a new personal take on nature. Here, reality is the only constant, and its diverse temperaments have become the creative elements that grant unique qualities to works. To me, in those unique qualities, in those ever new aspects, lies the all-too-human interest in works of art.”

Eduardo Hoffmann’s domestic and international renown within the art field, testifies to the significance of this installation when displayed in a fitting institutional setting. In an article published in newspaper La Nación in March, 2010, art critic Alicia De Arteaga highlighted that “Hoffmann belongs to that breed of artists that escape uniformity, that seek to venture into new experiences without measuring risks. Like a special envoy on the front lines of battle.”[1] In addition, his work spans multiple techniques and materials, such as painting, graphic work and objects; furthermore, it has been studied and praised by numerous art critics and scholars, including Fabian Lebenglik[2].




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