Wednesday 16 November, the Hub/Art gallery in Milan opens the exhibition Líneas de palabras by the artist Daniel Barclay, curated by Greta Zuccali and Marta Blanchietti in collaboration with the General Consulate of Perù in Milan.Promoted by the GAG London Equity Capital group, the exhibition is supported by Interface Power and McVector ltd, which is in charge of communication.

Daniel Barclay is a visual artist, born in Perù, currently working in São Paulo, Brazil. The year 2022 saw the artist involved in VIR Viafarini-in-residence, a shared studio programme for artists and curators. During the residency, the artist developed a work on the relationship between space, people and monuments. This resulted in two series that will be exhibited in two different venues in the city of Milan. The first, to be inaugurated on 8 November 2022, is entitled Líneas de horizonte and will be on display at the General Consulate of Perù in Milan. The second, entitled Líneas de palabras, will be inaugurated at Hub/Art on 16 November 2022.

Marta Blanchietti wrote in connection with the artist’s work: “A central aspect of Barclay’s artistic practice is abstraction. Dissonance and movement in space and time are key elements of his work. Part of the selection presented in the Hub/Art rooms, through an innovative approach, investigates in the abstraction of forms, the relationship between space and monuments. The materiality of the statues loses its strength and becomes an interplay of shapes and colours within different material planes.”.

For years, the artist has been developing works in close relation to politics and violence. The role of monuments in space and their relationship with society evoke the theme of cancel culture, which has been arousing heated debate for some time now not only in the Anglo-Saxon world but also in Italy. The artist measures himself against the complicated issue of the limits of freedom of expression and the equally complicated distinction between celebration and oppression in the form of monuments on the public square.

In Barclay’s work, the monument, or rather the anti-monument, becomes the site of impermanence.

By its definition, the monument is intended to last forever, not only in its physical form but also and above all in its meaning. In reality, writes Marta Blanchietti: “The value that a  monument carries in its materiality and the strength of that strength of that message varies over time, and is historically, socially, culturally determined. A monument lives from its relationship with the who enjoy it.”

Therefore, along with the external material form that tends to be eternal, an entire conceptual apparatus is fluid and variable, articulated in a continuous cross-reference between signifier, signified and user. A subject that the artist and the curators also try to represent with the exhibition set-up, which will lead the works to be observed from unusual perspectives.

Daniel Barclay

Daniel Barclay (Lima, 1972)

I was born in Lima (Perú) and studied fine arts at Corriente Alterna school of visual arts between the years 1994-1999 in Lima. I did my Thesis “Chamán Urbano” in 2003 at Corriente Alterna, and it studied the comparison between chamanism and urban symbols relating to sexuality and death. In 2003-2004 I studied an MAFA at Central Saint Martins School of Fine Arts (London). In this period I developed a practice that involved drawing, bidimentional objects and performance that in all, made a representation of territory from different fragments of works. Part of my final work included the performance “Journey to Trafalgar Square”.

Between 2000 and 2003 I was also part of a collective based in lima (Perú) called Otrosomos, with which I participated in several group exhibitions. Between 2005 and 2009 I did a body of work around painting. Part of this work was the exhibitions “Subcutáneo” (it involved the representation in painting of a series of conversations I had with HIV positive patients at a public hospital Dos De Mayo), and the exhibition “Convento” related to the inmaterial and religious imaginery. In 2010 I developed the performance “Tumorrow”, related to the memory of the war of the pacific, between Perú and Chile. In this project I invited people to do an exercise of collective performance in an area next to the monument to the unknown soldier in the Morro Solar.

Between 2010 and 2019 I ́ve been living in Sao Paulo and exhibiting in Sao Paulo and Lima. In 2014 and 2015 I developed two exhibitions with Brasilian curators in a private and a public gallery in Lima. In 2014 I did an exhibition In Lima with curator Paula Borgui at Galería Revolver called Estratificaciones Culturales. In this exhibition I worked with codes that related to the representation of space using books, newspapers, and painting.

I have participated in several art residencies over the years. In 2010 I participated in the art residency FAAP in Sao Paulo in where I investigated about the relationship between body and territory and the final project was exhibited at Casa Contemporánea. I also participated in Curatoria Forense art residency in Sao Paulo (2011), Hermes artes viasuais (Sao Paulo, 2011- 2012), Barcú (Bogotá, 2015), Kaaysá (Sao Paulo 2017). Viafarini (Milano, 2018), NES art residency (Iceland, 2019). Currently I just finished a period of residency at VIR-Via Farini residency (Milano, 2022).


HUB/ART Milano
Via Privata Passo Pordoi 7/3
20139, Milano

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Wednesday 16 November 2022
From 18:30 to 21:00 pm

Opening to the public
From 17 November 2022
To 10 January 2023

Monday–Friday 9:00-18:00
Saturday: open by appointment. Sunday closed

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