Although there is always a vanishing point that shoots to an unknown place, the exhibition has an undeniable common thread: abstraction and the use of vivid and intense color palettes. This last trait is one hundred percent distinctive of the artist Carlos Bissolino, whose career was captured last year in three galleries of the Recoleta Cultural Center under the title "Floating Anthology," an important exhibition curated by former students of the Bissolino Chair, now professors. The exhibition included more than 80 painted works from the 1970s to the present. "Both Milton's work and mine share a physiological idea of ​​perception: it doesn't allude to anything thematic or representational. It's the rawest language of painting," describes Bissolino, whose works on display are from 2025 and are untitled, a deliberate decision that fuels the ambiguity and "strangeness" that permeates the entire exhibition.

Despite their commonalities, each artist possesses their own distinct imprint. The works presented by Kalbermatter, gel ink and marker drawings created in 2014 and recent acrylic paintings on canvas, are more graphic and octagonal. “My works can be read as a continuum; a process. They are interconnected. They all have something in common: their level of intensity,” reveals the Chaco-born artist. Recently, his work has also evolved around the notion of “graphic histology,” based on which, following the approaches of biology in its study of the tissues of living beings, he seeks visual forms of possible microscopic structures and patterns that allow us to gain an idea of ​​what the living network of the world could be.

On the other hand, Bissolino's works are distinguished by their rhythm and the inclusion of gesture in the material, avoiding verticals and horizontals. “There's nothing very premeditated or sketched in my work. Abstraction isn't a conscious decision either,” concludes the artist, who trained with Luis Felipe Noé and also at the Scuola di Arti Ornamental di San Giacomo in Rome.