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

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

Regular price €350,00 EUR
Regular price Sale price €350,00 EUR
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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 contemporary Chilean artist originally from Valparaiso, Chile, who resides currently 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, with each work having its own storyline, its own context, its own protagonists and its own reality. His subjects are often biomechanical devices whose images are reminiscent of the Mad Max film series.

A visionary and surrealist painter who interprets a symphony of colors with his brushes. Valparaiso has large, intimidating eyes. 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 conveys its message.

Imagination is not content with the limits imposed by reality.

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

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

In his latest exhibition "Doble Estandar", Lobsang poses the question of economic power which, at present, permeates all life experiences and unifies them. Optimistic, we indulge 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.

Repressed bodies, demolished architecture, 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 which, 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 trash. Located on the periphery of degradation, organic-mechanical contraptions refer, as Burroughs says, to "a soft machine", in useless struggle against the entropic dispersion of its parts.

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