Strömstad (Sweden), October 2021

Luciano Goizueta, Echo Chamber

In this exhibition, Luciano Goizueta reflects on the communicative power of an image, be it self made or appropriated from popular culture. By tracing its meaning, the artist is able to question experience and free will, while making visible the transformations involved in the perception process. 


The exhibition begins at the artist’s studio in San José, Costa Rica. Separated from the spectator by a distance that is both physical and imaginary, this space remains hidden, as do others that constitute Goizueta’s everyday, yet are represented by him on numerous occasions, sometimes in a literal manner, other times through a series of objects that take their place and allow him to, through this placement, draw a topography based on such images.

The iteration of these spaces, their objects and the habits related to them, allow us to experience them too, although at a distance, bringing us closer to his own idea of reality. A reality that is a consequence of a particular order or system, and that appears right in front of us as if true (that expands the limits of the canvas, as if true) —a spectacle for the eyes.

The interdisciplinary nature of Goizueta’s practice, and his resourceful use of photography, allows him to not only contain and conserve fragments of his reality, but also process them in a particular manner. Through photography, Goizueta is able to study and reflect upon the transformational meaning of images; how an illusion occurs when we find ourselves able to experience those moments again, unsuspecting of how the passing of time alters these, parodying the memory process. Such is the case of “Archive 1111” (2016), a series of drawings based on photographs taken every day at the same time (11:11), revisited two years later, to reveal, with a voyeuristic eye, the artist’s experience and his interpretation of it.

Other works focus on the study of an internal universe that, rather than express an individual experience, appropriate a series of images extracted from books, encyclopedias, and other sources in order to refer to a broader visual universe. The how we consume these images becomes the central subject in series like “Abductions” (2018), where the disruption of sense and rationality is represented through clusters of images that remind us of oneiric scenarios where a distortion in content is evident.

The concept of the Echo Chamber implies a vision filtered by a series of decisions, either conscious or unconscious, giving way to an image of reality that is separate from it. Aware of this censorship, Goizueta seeks to move away from some of the processes, gesturing, on occasions, towards abstraction, case of “Microcosms” (2010) —an abstraction that is, in fact, based on a specific image— and, in others, relying on chance as a means through which to arrive at a work that intends to be honest, freed from external influence, in an act of resistance towards this phenomenon.


Learn more about Archivo 1111 at Echo Chamber