Scarcity of means and gestures constitute the basis of Sergio Verastegui’s reflection on the nature of relationship to reality. His works can be considered annotations -- forms of writing close to fragment. The rudimentary appearance of Sergio Verastegui’s works, made of poor materials, of rebus or of salvaged elements, could permit a comparison with Arte Povera. Nevertheless, the artist’s approach is not the same; it is not about a guerrilla against a culture of consumption, but an expression of a “new poverty,” organizing in an unexpected and casually fortuitous manner poetic encounters between different objects and materials. Bringing together a strong material presence and conceptualism, Sergio Verastegui’s works appear as fragments of realities extracted from a torn-up world. Verastegui willingly quotes Alain Badiou with regard to his own work: “The importance lies not in knowing what one has forgotten but in understanding what has left its mark on us.” Decontextualized and re-contextualized, the fragment-traces that are the components of his installations, if they do not lose their original quality as vectors of meaning, readily adopt others. Of Peruvian origin, Sergio Verastegui lives in Paris after having studied at the School of Visual Arts of Rio de Janeiro and at Ecole nationale supérieure d’art Villa Arson in Nice.
The Galerie Thomas Bernard - Cortex Athletico was created in Bordeaux as a label in 2006 and became a gallery in 2006. Since 2013 it has settled in Paris.
Ignasi Aballí / Stéphanie Cherpin / Pierre Clerk / Jean-Alain Corre / Franck Eon / Andreas Fogarasi / Vincent Gicquel / Rolf Julius / Thierry Lagalla / Benoît Maire / Charles Mason / Anita Molinero / Kevin Rouillard / Vittorio Santoro / Sergio Verastegui