In Max Gómez Canle works we observe not only coexistence but also the impeccable interaction of classical and romantic sympathies with Madí or concrete proposals and digital trash (Tetris crosses the artist's universe in different ways). For him painting is acronic: in painting it is time that has fled, while each of its elements remains in its place. We are facing a constructor of series that define each other as they intercept. Formal series as well as narratives, iconic tribes that venture the puzzle of a map in which the temporal factor - the historicity of the image, the original date of its technique - functions as another color.

Max Gómez Canle (1972, Buenos Aires, Argentina. Lives and works in Buenos Aires, Argentina). Graduated in Visual Arts by Escuela Nacional de Bellas Artes Prilidiano Puerreydón.
Selected solo exhibitions: El salón de los caprichos, Museo de Arte Moderno de Buenos Aires, Argentina (2019); La distancia termina en el barranco, Casa Triângulo, São Paulo, Brazil (2017); Condición y Cabeza, Fundación Federico Jorge Klemm, Buenos Aires, Argentina (2016); Fisionomía del tiempo, FLORAars+natura, Bogota, Colombia (2014); El devenir de una memoria, Casa Triângulo, São Paulo, Brazil (2013). Selected group exhibitions: Una Historia de la Imaginación en la Argentina, Museo de Arte Moderno de Buenos Aires, Buenos Aires, Argentina (2019); Le Le Lend, Buenos Aires, Argentina (2018); Paisaje: el devenir de una idea, Centro Cultural Kirchner, Buenos Aires, Argentina (2016); My Buenos Aires, Maison Rouge: Foundation Antoine de Galbert, Paris, France (2015).

Awards: Premio Klemm, Buenos Aires, Argentina; Premio Andreani, Buenos Aires, Argentina; and Salón Nacional de Rosario, Rosario, Argentina; among others.