Artist Statement: Glitched Spaces II The virtual art fairs, the 3D tours, the remote exhibitions, are they here to stay and replace our previous idea of interaction?, Or are they just part of this glitch that will be re-accommodated when the error in the system is corrected? We really have no idea how this global disruption we are facing will affect the institution of art and vice versa, but we definitely know that we are in the middle of an earthquake. These questions are proposed here through a minimal compositional approach that emphasizes a shift. From this formal investigation it is possible to see the strong geographic and investigation link, related to the uruguayan-argentinian Madi experimentation of the 1950s, which sought that the external format of any art manifestation should follow the composition of the inner piece and not the opposite. But starting from these foundations, the main interest is highlighting and concentrating specifically in this break, and exploring the different implications that an internal displacement can generate in a containing structure. * Glitch is a term that comes from the field of computer science and refers to a temporary error that is corrected in moments. Unlike bugs, the glitch does not destroy the system, but distorts it temporarily, on the other hand it cannot be considered a failure, but rather an unforeseen feature.

Artist Bio: Guillermo Garcia Cruz is one of the most important young artists in Uruguay, His work has been exhibited individually at the Contemporary Art Space in Montevideo, and internationally in exhibitions in Lima, Buenos Aires, Miami, Washington DC, New York, Madrid, Lisbon and Tianjin. Among other articles and mentions, in 2019 he has been globally distinguished among the 12 artists in the focus of the next generation, by the Ibero-American site Arte Informado. He currently works between the cities of Madrid, NY, Montevideo and Lima, developing an interdisciplinary body of work that is made up of painting, photography, action and installation, pursuing a problematic look at the phenomenon of validation in the current contemporary art system. In addition, he works as Professor of the Visual Arts Degree at the Catholic University of Montevideo.