Lobsang Durney, Alcazabot Original lithograph signed and numbered, exclusively on LYNART!

Alcazabot

Color lithograph

Fine Art Paper 310 gr

42 × 60 cm

Signed and numbered by the artist

Limited edition of 30 copies

Only 2 pieces available!

Exclusively in Paris



Lobsang Durney is a Chilean contemporary artist from Valparaiso, Chile, who currently resides in Barcelona, ​​Spain. In his work, Lobsang focuses on painting surreal post-apocalyptic worlds, where he mixes realistic and imaginary subjects and stories.

Lobsang's work is uniquely cinematic, each work having its own storyline, context, protagonists and reality. His subjects are often biomechanical machines whose images recall the Mad Max film series.

WHO IS LOBSANG DURNEY?
A visionary and surrealist painter who interprets with his brushes a symphony of colors. Valparaiso has big eyes that intimidate. It is an enchanted city. A recognizable Valparaiso bus, yellow and green, ended up in this unusual place. Despite this feeling of Apocalypse, the mechanics of life continue. The paradox of destruction transmits its message.

Imagination is not content with the limits imposed by reality.

She has the ability to create other parallel worlds. That's magic.

Lobsang has developed his own line: selected environments, elaborate staging, the transmission of a message, the freedom to interpret this message emanating from the heart of Valparaíso. The message is certainly linked to its Chilean origins but, ultimately, out of context, it belongs only to the imagination of its spectator.

In his latest exhibition "Doble Estandar", Lobsang raises the question of economic power that, at present, permeates all life experiences and unifies them. Optimists, we engage in a schizophrenic exercise of consuming and being consumed. We oscillate between impossible sincerity and false flattery, between the voracious ardor of success and its weak simulation.

The repressed bodies, the demolished architectures, the miseries and contradictions of the social body are revealed in the art of the exhibition. The artist has removed the veils, exposing to the light a bizarre socio-economic entity that, as Mark Fisher defines it: "infinitely plastic, capable of metabolizing and absorbing any object with which it comes into contact". Lobsang's machines allude to a dream culture of detritus. Situated on the periphery of degradation, the organic-mechanical contraptions refer, as Burroughs says, to "a soft machine", in a futile struggle against the entropic dispersion of its parts.