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CONTEMPORARY ART AND LOTS OF QUITO
September 4 - October 2 / 2010
Review published in Art Nexus # 79 (12/10/2010 ) - To see photos and more information click here .
By Rodolfo Kronfle Chambers
aside the Cuenca Biennial, Contemporary Art and Patios de Quito is the event most ambitious contemporary art has been given in Ecuador. This data invested with significance if we consider that it is specified by the management of a private entity, a fact at all irrelevant in the climate of nationalist and neo-regression patriotic is shifting, worse, highly bureaucratized, professionalized and retard institutional bit cultural state. A commendable achievement for ARTEDUCARTE (Trade Group) and its director Maria Consuelo Tohme considering the successful coordination of this issue in a country where it is known that all major enterprise is unlikely to be epic.
As an initiative model was conceptualized for the city of Cordoba in Spain, the challenge was to export the idea, but bypassing the difficulties parameterize the local key experience. Gerardo Mosquera as curator of both expeditions the ship could reach a successful conclusion.
The event logic escapes of course use the courts as a gallery exhibiting works which neglected the place, but rather emphasizes dialogue, staging, and the activation of both the built environment and the content derived from its uses .
total of ten well-established artists in their respective countries, six of the squad with a history Cordoba on his record, to which were added Javier Tellez of Venezuela and Larissa Marangoni, Pablo Cardoso and Miguel Alvear, who played premises. They are all, without exception, well versed in international friction, some even, as Mona Hatoum - brought an air of mainstream the environment. Although the latter was the only participant not forged an ad hoc piece had the foresight to include what is probably his most photogenic, Hanging Garden (2008-2011): the presence of its paradoxical barricade outbreaks working life so great in its new location in the convent of San Agustín, adding in my view an interesting veneer of postcolonial criticism.
The proliferation of works in the last decade that have the city \u200b\u200band the public sphere as well as exhibition platform as part of their considerations into his film development, arouses some misgivings about possible banal repetition of experiences already depleted senses. The alternative offered by ACYPQ is certainly original, and can productively delve into dimensions of interest within a dense matrix diagrammed by variables such as the private sphere, the extension of the public, the stock architectural heritage, popular culture and historical memory.
Beyond the political accents are found in much of the work the group proposes an empowerment of the subjectivity of the viewer, almost without all of these interventions moralizing one-dimensional surface and exorcise the spirit of poetry.
However, any sample custom make use of any contingency depending on theme, or unpredictable variables that impose exhibition space, run the risk of distorting the production of an artist, but one of the most interesting aspects of all repair work is on how integrity has been preserved with the poetic interests and property of each participant. Since interventions
predictable and simply delightful, and the enjoyment and beauty contained in the work of the Chilean Magdalena Atria through its distinctive labor power, brilliantly, a resource as basic as the clay in color and compositional possibilities quasi lysergic up unusual and thought-provoking solutions such as the Brazilian Rubens Mano . His speech, titled Harvest had as vortex overwhelming sense of immanence imposed by the pillory which is located in the courtyard of the Municipal Museum. This stone column pointed out, centuries ago, the rule of law in a territory. Through a game of contrasts developed between formal decision to reorganize the space and symbolic actions such as the introduction on a bed of garden plant today associated with illegal activities, Hand managed to activate cultural tensions that lie dormant in the collective memory sedimented.
Others, like Miguel Alvear chose to deal directly with the social fabric. He chose a courtyard effect without the presence opulent, but what it lost in the glory won by the sensitive staging of the most humble and tenacious running manual labor craftsmen who populate the site: a photographer and his old-fashioned technique that resist to disappear, the operator of a rudimentary printing press (who finally, after a lifetime of work mechanically with the words, became poet) the human group that gives life to the beauty salon, a goldsmith and a restorer of religious images, whose tiny workshop was crowned by a monumental inflatable baby Jesus, bless effigy appears now, from its stunning rise to the entire community. Alvear connects well with a constant in his work by reformulating Kitsch paroxysms of nature images symbolically linked to local identity. The artist manages to turn its subjects in the analysis of the complexities of a society that refuses to be characterized by generalizations.
The popular belief is further in the Costa Rican invoking Priscilla Monge , whose elegant intervention ( The courtyard of miracles ) an ontological connotations, two carved stone benches inscribed with messages suggest a clash between life and death. The composition is balanced in the small yard run by a fig tree, plant, according to traditional ways and according to the intensity of the administered dose was used both for fuel-fertility to cause an abortion. A subtle metaphor and the fragile balance that governs the existence, traversed by a historical projection of the cultural conditions imposed on women.
Straits ties to the host environment had interventions and Cardoso Pablo Javier Téllez , both using the work of famous writers as a springboard allegorical. The first with an expansive installation entitled My room overlooks a volcano, located in a three patios, where he created a water system using rain gutters collectors, enabling certain vent therein for hammered the persistent drip a trio of stainless steel panels located at ground level. On the surface of these evocative texts were collected from one of the guests who had the house: for she spent the poet and artist Henri Michaux (1899-1984), who in 1929 published his famous travel blog "Ecuador", where Cardoso has been removed phrases like "I have seven or eight ways, one of them: the sense what is missing. " This was one of the most pleasing multi-sensory experiences, and also allows a lucid pictorial association with reflections being developed by the author regarding his own territorial displacements.
Tellez's work is located in the San Lázaro Psychiatric Hospital, coherent choice given his obsession with the theme of madness to question the arbitrariness with which defined the rational, and therefore of reality itself. In Artaud Remix brings together a rich set of banners that hang neatly in the arch that surrounds the central patio (noting tangential interest in the "architecture of containment"). These are printed with a reconfiguration that makes Téllez delirious and incomprehensible word "glossolalia" schizophrenic playwright Antonin Artaud (1896-1948), the secrecy facing our helpless interpretation leads us to reflect on the potential that we attach to sensory states-like trance, not associated with normal, leaving a strange feeling that only the inmates of the institute will access these keys enigmatic. Rounding out the tour
parts of the English Jorge Perianes and Cristina Lucas, and the Ecuadorian Marangoni, which contributed, with varying degrees of strangeness and charm, to round off the event.
Quito was developed by the space of a month in a sort of outdoor museum, where, as regards the curator, he "took the challenge of communicating with a popular audience without compromising their artistic interest and sophistication" very different this to other public art initiatives facing the stroller works with which it is difficult conceptual Communion and aesthetically.
This consideration by the final of the experience is of a brooding logic of Mosquera, who hits the nail on the head with respect to the ravings often present in the institutional system of art: "All art project in the public sphere should explore possibilities for communication beyond the elite of experts, because it has not been put there for misunderstanding and silence. This may seem obvious, it is often ignored, and the works seem to go out to the community, life, the 'real world' just to the photo or video that documented in museums, galleries, magazines or books not for real action in the public sphere. Their final destination is usually centripetal: the world of art. Thus, many current discussions about public art and political art (Nicolas Bourriaud, Jacques Rancière, Claire Bishop, Mieke Bal ...) completely ignored the communication gap that limited to a very small elite. "Hal Foster berated years ago with similar eye Bourriaud critical how focused the art, questioning the real ability to "relaunch of assembly units" that the author aims of the viewer, asking "When is this 'revival' in a weight too great in the viewer, in a test too ambiguous? ... there is a risk of illegibility here, you can reintroduce the artist as the central figure as the primary exegete of work. There are times when "the death of author 'has no meaning" the birth of the reader', as Roland Barthes speculated, but rather the confusion of the viewer. "(Chat Rooms, 2004)
As we tested with an eye on the utopia of a true art of collective action, and exploring the social dimension of participation, we have to put the platform in the balance ACYPQ: his prodigious ability to create situations, stimulate feelings and mobilize affections having dodged the demagoguery often present in mass screening events and for unskilled receptors, leans decidedly toward the weight of success.
Guayaquil, September 25, 2010
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