Passado Imperfeito
Cultural Center Sao Paulo (Brazil)
18 enero - 21 marzo/2011
Moments similar in the history of the peoples of Latin America set the tone of the show's videos Past Imperfect, which starts on Tuesday, 18, at Centro Cultural São Paulo (CCSP). In common, each short video art, Ecuadorian author, shows the repetition scenes, emotions and experiences that left their mark on Latin America.
The show has been presented by the Fundación Telefónica in Peru and brings what is most remarkable video art in Ecuador. The sieve used in the selection of the shorts was the 'eternal return' philosophical conception according to which the human beings tend to infinite repetition of situations, events, thoughts, feelings and ideas.
The Latin countries are historically linked by colonization. According to Ana Maria Rebolledo, the Interdisciplinary Center of CCSP, the idea is to bring the show to reflect on the similarities between people in Latin countries. "We try to think our present and we carry the past," he says.
The curator was made by Ecuadorian Rodolfo Kronfle Chambers and a partnership of CCSP brought the show to city. The shorts are displayed in ten plasma screens scattered throughout the sites with the highest circulation of the site.
Past Imperfect
Galleries Grossman, PA (USA)
8 enero - marzo 4 / 2011
Inconsolable Memories
By Maria Ines Plaza
"Past Imperfect: 10 present in the Ecuadorian art video "is attached as visual polyphony in many countries, less in his native town: videos of anxiety and recovery, counting and restructuring in memory of Ecuador.
of a rib 2007-2009_grandes Playlist success in the contemporary art was born Ecuador Past Imperfect more than a year ago. Rodolfo started with Kronfle Chambers Playlist not from a curatorial concept per se, but rather a situation where the curator turned a formality which involved his curiosity impulse intellectual about the selection process for the Biennial of Cuenca, or rather the biennials in general, asked the curator for the reasons give grounds for a name, a structure that fits in theoretical terms what connects the works , and suggest the categorical imperatives of your gear mobiles as an event likely to be filed in order to choose what he considered remarkable, big hits as he says.
In Past Imperfect however, commune works amid a "meta-discourse", the ten videos with explicit fragments adhere recognizable past, and flirt with the vague possibility to make some enlightened historical ruins (What Benjamin drawn as a broken vase back for repair ... "Repeat the last is to build an empty thing.") It is with Past Imperfect minuicioso an exhibition on the work of authenticity, presence and meaning, in all cases. The relationship collective memory, critical look at it, the gesture insistent on the artwork to be his most faithful type, start in this sample from personal experience, as if the legacy of a past macro in any country, then a vessel to be filled with micro-stories.
In itself the name Past Imperfect proposal resolves ontological concerns of the sample without requiring a second printing, and grammar, the imperfect past has always worked for the language of truth and talkative "half", almost imaginary, incomplete, continuous, regular and matching the verb connected with this on a unfinished (This also suggest Confirmation of events (2008) of Illich Castillo).
Thus, the imperfect of "being" in the works referred to the ambiguous local context, where cultural conflicts are bound to repeat itself as some sort of anachronistically ritual (We see it in Barry's Nightmare (Love is in the air) (2009) Grace Guerrero and Trial (2009), Manuela Rivadeneira) or inheritance in the formation of the individual (as childhood poems recited by Karina Svrisky in Crave (the project "Development Reports, 2009). cites philosophical concept of" eternal return "as the basis of the sample, sympathizes with the feeling incredulous Nietzsche, who applied the idea in "Thus Spake Zarathustra," with its melancholy impression of time and events, ephemeral and repeatable turn.
Kronfle invited to accept that the crisis of historical writing narrative leads, accessible without having to impose a representation of the last major conflict that sparked the deconstructive strategies in Latin America at the end of the last century, but offer a mediated construction. (As of far is The Triumph of the Will (2010), de Castillo, a waterfall that flows into the abstraction of the appointments of the respective films and filmmaker Leni Riefenstahl Tania Hermida).
connecting this idea to the form of the selected works, when all these pieces of video, act of seeing and we see happens like that "wake up" stoic - where was born the notion of eternal return - similar to the time to recognize what is in each video installation. The credibility of the exhibited works will depend then revisit and dialogue it creates between them, ignoring the cross-cultural dyslexia. Each of the ten video installations requires us to participate in the transcription of the time, not in its time dimension, but if your syntax. (This happens, for example, León / Blomberg (2009) of Juan Carlos Leon or otherwise in a country imagined Mapping (2008) by Stephanie Peñafiel. The artist takes Ecuador text of the French naturalist Henri Michaux (ie, a text outside the country ...) and offers a version made backwards, while the French icon in her own past Ecuador in 1927, Peñafiel text deletes them critically, as if were an endless penance.)
The portability of the video in its speed has reached the incursion of the language of resistance from artists before possible dimensions, which shows fertility and not necessarily the deterioration of which Benjamin speaks on "The work of art in the age of mechanical reproducibility. " This means the aura, as the data of the memoire involontaire (Proust, quoted by Benjamin), the intuition offered between video and video, loop and loop. The sample was then re-enrolled from outside the country (forgive highlight, just outside) a particularly constant, almost rhythmic. From 12 to 31 May (2010) discussed briefly at the School of Plastic Arts University of Bogotá, and then resubmitted in Colombia, Cali this time, from 16 July to 12 August in the space doubt. From September 2 to October 31 Telefónica Foundation Center in Lima, and from 18 January to 21 March this year Cultural Center Sao Paulo (CCSP), whose name translates to Passado Imperfeito , in the cycle " Stops em Movimento".
From 24 January to 6 March, Past Imperfect discussed in Grossman Galleries Lafayette College in Pennsylvania, where the sample had two special events: the performance of Svrisky and visits Karina guided the curator himself. In February and in May in Bogota, Kronfle gave a lecture at the university extended beyond the intentions of the sample, the subjects that he studies about re-writing history - but mostly of identity - as a constant process, conflicts between, the cliches that surround it. (See Wir konnen es / machete recycler / tiger blanket (2009) by Miguel Alvear).
4 Questions this nebulous anecdotal curated
Past Imperfect Do you think as a project was completed thanks to the company of your conference?
certainly adds a dimension that allows both delve into the complexities of the context in which the works appear as swelling the density of the multiple layers of meaning that we can bring to them.
Any comments of the public who can tell?
If you give a conference abroad must take the public seeking some sort of trip, if you have the ability to concatenate the works so that each will add something to the overall picture from which to view other You can configure a "situation." To speak of any work you must first make clear that "situation" where it is pronounced. You realize that that moment of connection, of epiphany occurs when people smile, when you finally realize the reason why you went for the holiday Tiwintza banking, indigenous justice soccer, or tecnocumbia Chavez. The reactions are naturally very different if you talk to a Latin American, an American or a European.
You manage the sample through the mail, went something like: "Want me to send the works? Here, here's the CD. " Do not cause this dynamic exchange dyslexic effect between the original concept of museum curators and resolving the healer being absent?
Yet there is always a level of control and that the planes of the rooms and the limitations on the equipment are checked in advance by mail mail. Based on the information you adapt. A curator always involves adaptation to a set of constraints, Past Imperfect fortunately is quite malleable on the one hand, on the other heads of courts have been people with great discretion.
"Past Imperfect has set standards for your next curatorial?
Actually what I have left this show is a lesson in pragmatism and the value of the self in an environment like ours: a giant that has merit is that despite not being supported by any local cultural institution (it's a 100% independent initiative); this is the contemporary Ecuadorian art exhibition that has traveled in history, having reached a record number of diverse public. In terms of content I would say as I enjoy the variety my next projects will be different.
of a rib 2007-2009_grandes Playlist success in the contemporary art was born Ecuador Past Imperfect more than a year ago. Rodolfo started with Kronfle Chambers Playlist not from a curatorial concept per se, but rather a situation where the curator turned a formality which involved his curiosity impulse intellectual about the selection process for the Biennial of Cuenca, or rather the biennials in general, asked the curator for the reasons give grounds for a name, a structure that fits in theoretical terms what connects the works , and suggest the categorical imperatives of your gear mobiles as an event likely to be filed in order to choose what he considered remarkable, big hits as he says.
In Past Imperfect however, commune works amid a "meta-discourse", the ten videos with explicit fragments adhere recognizable past, and flirt with the vague possibility to make some enlightened historical ruins (What Benjamin drawn as a broken vase back for repair ... "Repeat the last is to build an empty thing.") It is with Past Imperfect minuicioso an exhibition on the work of authenticity, presence and meaning, in all cases. The relationship collective memory, critical look at it, the gesture insistent on the artwork to be his most faithful type, start in this sample from personal experience, as if the legacy of a past macro in any country, then a vessel to be filled with micro-stories.
In itself the name Past Imperfect proposal resolves ontological concerns of the sample without requiring a second printing, and grammar, the imperfect past has always worked for the language of truth and talkative "half", almost imaginary, incomplete, continuous, regular and matching the verb connected with this on a unfinished (This also suggest Confirmation of events (2008) of Illich Castillo).
Thus, the imperfect of "being" in the works referred to the ambiguous local context, where cultural conflicts are bound to repeat itself as some sort of anachronistically ritual (We see it in Barry's Nightmare (Love is in the air) (2009) Grace Guerrero and Trial (2009), Manuela Rivadeneira) or inheritance in the formation of the individual (as childhood poems recited by Karina Svrisky in Crave (the project "Development Reports, 2009). cites philosophical concept of" eternal return "as the basis of the sample, sympathizes with the feeling incredulous Nietzsche, who applied the idea in "Thus Spake Zarathustra," with its melancholy impression of time and events, ephemeral and repeatable turn.
Kronfle invited to accept that the crisis of historical writing narrative leads, accessible without having to impose a representation of the last major conflict that sparked the deconstructive strategies in Latin America at the end of the last century, but offer a mediated construction. (As of far is The Triumph of the Will (2010), de Castillo, a waterfall that flows into the abstraction of the appointments of the respective films and filmmaker Leni Riefenstahl Tania Hermida).
connecting this idea to the form of the selected works, when all these pieces of video, act of seeing and we see happens like that "wake up" stoic - where was born the notion of eternal return - similar to the time to recognize what is in each video installation. The credibility of the exhibited works will depend then revisit and dialogue it creates between them, ignoring the cross-cultural dyslexia. Each of the ten video installations requires us to participate in the transcription of the time, not in its time dimension, but if your syntax. (This happens, for example, León / Blomberg (2009) of Juan Carlos Leon or otherwise in a country imagined Mapping (2008) by Stephanie Peñafiel. The artist takes Ecuador text of the French naturalist Henri Michaux (ie, a text outside the country ...) and offers a version made backwards, while the French icon in her own past Ecuador in 1927, Peñafiel text deletes them critically, as if were an endless penance.)
The portability of the video in its speed has reached the incursion of the language of resistance from artists before possible dimensions, which shows fertility and not necessarily the deterioration of which Benjamin speaks on "The work of art in the age of mechanical reproducibility. " This means the aura, as the data of the memoire involontaire (Proust, quoted by Benjamin), the intuition offered between video and video, loop and loop. The sample was then re-enrolled from outside the country (forgive highlight, just outside) a particularly constant, almost rhythmic. From 12 to 31 May (2010) discussed briefly at the School of Plastic Arts University of Bogotá, and then resubmitted in Colombia, Cali this time, from 16 July to 12 August in the space doubt. From September 2 to October 31 Telefónica Foundation Center in Lima, and from 18 January to 21 March this year Cultural Center Sao Paulo (CCSP), whose name translates to Passado Imperfeito , in the cycle " Stops em Movimento".
From 24 January to 6 March, Past Imperfect discussed in Grossman Galleries Lafayette College in Pennsylvania, where the sample had two special events: the performance of Svrisky and visits Karina guided the curator himself. In February and in May in Bogota, Kronfle gave a lecture at the university extended beyond the intentions of the sample, the subjects that he studies about re-writing history - but mostly of identity - as a constant process, conflicts between, the cliches that surround it. (See Wir konnen es / machete recycler / tiger blanket (2009) by Miguel Alvear).
4 Questions this nebulous anecdotal curated
Past Imperfect Do you think as a project was completed thanks to the company of your conference?
certainly adds a dimension that allows both delve into the complexities of the context in which the works appear as swelling the density of the multiple layers of meaning that we can bring to them.
Any comments of the public who can tell?
If you give a conference abroad must take the public seeking some sort of trip, if you have the ability to concatenate the works so that each will add something to the overall picture from which to view other You can configure a "situation." To speak of any work you must first make clear that "situation" where it is pronounced. You realize that that moment of connection, of epiphany occurs when people smile, when you finally realize the reason why you went for the holiday Tiwintza banking, indigenous justice soccer, or tecnocumbia Chavez. The reactions are naturally very different if you talk to a Latin American, an American or a European.
You manage the sample through the mail, went something like: "Want me to send the works? Here, here's the CD. " Do not cause this dynamic exchange dyslexic effect between the original concept of museum curators and resolving the healer being absent?
Yet there is always a level of control and that the planes of the rooms and the limitations on the equipment are checked in advance by mail mail. Based on the information you adapt. A curator always involves adaptation to a set of constraints, Past Imperfect fortunately is quite malleable on the one hand, on the other heads of courts have been people with great discretion.
"Past Imperfect has set standards for your next curatorial?
Actually what I have left this show is a lesson in pragmatism and the value of the self in an environment like ours: a giant that has merit is that despite not being supported by any local cultural institution (it's a 100% independent initiative); this is the contemporary Ecuadorian art exhibition that has traveled in history, having reached a record number of diverse public. In terms of content I would say as I enjoy the variety my next projects will be different.
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