Show curated by Ana Rosa Valdez and Juan Carlos Leon
Raymond Pettibon, José Luis Sánchez Rull , Cisco Jimenez, Jorge Jaén, Carlos capelin, Marcos Restrepo , Yanne Canga, Eduardo Stupía , Angel Ricardo Ríos, Gabriela Cabrera, Armando Mariño, Daniel Alvarado, Oswaldo Terreros, Marco Arce, Fernando Brizuela, Miguel Alvear , Ilich Castillo, Juan Carlos Leon Gustavo Acosta, Amadeo Azar , Natalia Cacchiarelli, Roberto Noboa, Fernando Falconi León Ferrari, Rafael Vargas-Suarez Universal, José Hidalgo, Daniel Zeller, Alexander Ross , Oscar Santillán, Fernanda Brunet, Mariano Dal Verme, Chay Velasco , Trenton Doyle Hancock, Alessa Esteban , Fermin Eguia, Sandra Gonzalez, Rafael Campos Rocha, Julio Galán , Daniel Guzman, Gabriela Fabre
PRESS:
http://www.telegrafo.com.ec/cultura/noticia/archive/cultura/2011/03/24/Objetivo_3A00_-reivindicar-el-dibujo.aspx CAMPO DE ASOCIACIONES
dialogues and silences between drawing practices
Through this curatorial project aims to create a map relations between practices of drawing submitted by authors who have developed sound proposals on the international art circuit and by artists in the local context have been outlined alternate routes to the dominant trend, and others may still be considered as emerging.
should be noted that the proposal has no historical or biographical interest, but rather fragmented narrative in a sense, for which it was created nuclei Works relating behave according to related concepts, and show concern (relatively) similar in those who conceived.
In these relationships, become relevant the connection found in his evidence, ie what immediately jumps to the eye and connects to the imaginary groups settled in the local context as well as links deliberately created to weave a semantic field for interpreting the works according to different values.
But beyond dialogues presented which are structured according to the concepts of drawing as an exercise of immediacy, the movement from visual essays and fiction productions, dystopian landscapes, the strains in the form, creating characters and collective imagination, and stories are chaotic ... have created quiet zones between works, where viewers can add their own speculations about the possibilities of rapprochement between the artistic proposals that have been convened.
The course consists of six tracks: Download PDF Catalogue with texts and illustrations
Credit de fotografías: Leonidas Corozo
Material de "yapa" exclusivo for troubled waters:
DISCUSSION WITH MARLA
exchange words on the curatorial project
Marla : Interesting selection of authors ... but why Why prioritize local artists who bear some previous professional relationship or friendship? Remember that cronyism is one of the great evils of context ...
Juan : Being a friend does not mean that there is an impairment of value or a value added on the proposal for these people. More While this indicates a closer knowledge, which enables more accurate criteria proposed in the works. The local context is extremely small, and perhaps if these people keep a professional relationship with us is because there is no guarantee of a preliminary investigation process. Many people criticize the friendly relations, casting doubt on the professional level, but that's part of a cultural way of thinking that is mediocre ...
M: Yes, but remember that it is based on problem cronyism, patronage attitudes ...
J: But cronyism is not unique of art, but the local context in general. In this stronghold is stronger, because no one knows differentiate friendly relations with relations of cronyism. Not always. If you come to the show, you'll see that there is a professional and purposeful well done. A very relevant: the work meets the job. And the door is always open to continue relationships. But it must maintain a level of serious work.
M : The sample as it is it looks pretty interesting, but do not you think that the concept of creating a field of associations between works is anything but new ...?
J : First, the concept of newness and genial idea is debunked a long time because there are always references and background, so we have a current notion of time ... The question now is how to use references. In this case, the question of the symbolic field that was the basis for partnerships, both in the works of the collection, as local production. Here no one is discovered nothing. This is a curatorial exercise based on the test, and is not intended to declare absolute truths.
M: Do not you think that from a private collection walk into a field of negotiation that can be dangerous whereas there is an issue by value (both symbolic and economic capital)?
J: Okay, dear Marla, you're asking me whether we are raising the capital gains works specifically with the collection? I do not think there's anything wrong with that, eh? Because the symbolic capital depends on economic capital, and hopefully there are more managers and professionals in culture collections continue raising capital gains ... And if there collectors, that whatever your interest, give opening for people to work on his collection. I think that would enrich and much more value to the weak local scene, and could be promoted through appropriate media. That would make visible local cultural processes in an international environment. If goodwill is because Invite Set to see more collections, the question is an exercise of this kind curatorial awareness of these issues.
M: How do you justify that the project is developed in this place of exposure and not another?
J: I think everything was in the form of negotiations held with the various local institutions. This site, despite the institutional problems and frequent changes that have occurred, has provided certain guarantees that other places do not give. I think we need to phase out of our minds the question whether space is the politically correct, because there really are few cultural spaces. When I'm fifty spaces, or more than one hundred, think about how you can be right choice or not. Cultural management at the local level is almost zero, because of this have to negotiate with what you have. And once again, do it with consciousness and respect for the parties involved.
M : Many believe that the work of the curator should be quite "entertaining" ... allow access some, deny others ...
J: Ha! Before I thought the same ...! But when I started to assume as a cultural producer, I realized that the issue lies in understanding the work of the curator as any other, with interests, conflicts and very specific claims, which, paradoxically, in the twenty-first century are assuming so parochial in the context ... local!
XXX? 
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