New waves ...
this week were everywhere. Three samples ITAE of students in three different venues. My journey through the halls of the Faculty of Architecture, Catholic University, the Gallery dpm and finally by the Board of MAAC Galecio was, fortunately, low to high.
could care are certain details of these "presentations in society, but welcomes the truly fundamental fact: the renewed emphasis on the production of works, which was perceived somewhat crestfallen at the Institute, whose presence in the public awareness seemed to be orbiting mainly around competitions and exhibitions. The fear of experimentation and be subject to scrutiny seemed to have perched a little on pupils who have more years of study. It also noted the involvement of the artists on issues of management and curatorship, which was also pending task.
Despite the lack of consistency and natural unevenness own college fairs the last show left me feeling that the very pleasant scene Guayaquil have revitalized energy for awhile. There quarry. Several names, some new, some little known "I have been hanging around the head, and have to start to make pasta heat to the newly graduates, who having played a stellar role in changing paradigms art in the city now carry the weight of the letterhead "professional" since leaving the protective properties of the academy. On that side is going good ... just is that the institutions of official culture (from the press to the museum) will match for that other side ... the thing looks
Rodolfo Kronfle
Chambers April 15, 1911
Curated and text by Jorge Navas Ona and Dennys
Co-curator, management, design and installation by Santiago Sojos
partial illustration of works:
Jorge Oña
Once upon a time ...
Watercolor on cardboard
110 x 75 cm. 2011
Jorge, with a strong interest in traditional media of drawing and painting, from exhaustive exercise in the trade of these, looking for ways to update themselves , while supports " apparently exhausted" . Obsessed with the way and sensationalism, cutting aware of derogatory remark that is often judged this position, simply seeks , surprising the viewer and cause uncertainty and fascination in the retina , without "frills concept ".
also emerging artist, immersed in extensive experimentation, recur between his work in dialogue with art history, appropriating works, conventions and / or ideology as a strategy.
In Once upon a time ... presents a "parody melancholy" , using a traditional icon in the history of art, " picnic" of Manet, in symbolic play in which means a change of perspective, reproduces part of this painting, which refers to both start-Modern Project officially representing their characters which abandoned, lost amid a forest species as a story who wants to start, a sort of denial and neglect, resentment metaphor for the frustrations of modern isms .
Dennys Navas
HortusGardinus
Tempera, graphite on paper eferográfico
200 x 110 cm. 2011
Dennys concerns are, above all, paintings. Appropriating the imagery of subaltern culture , makes use of elements that we identified them immediately with this and other social forms .
The position of your gaze falls under this reality and not from other perspectives. However, it should be emphasized that their proposals at any time any attempt to claim they have social or intended re-present the "periphery" in a bitter speech exhausted.
In his work, through a personal exercise of drawing and painting The combination of elements from the most contrasting social strata, causes a very suggestive image subtly questioning these realities as cultural constructions.
HortusGardinus is a work that is defined under the character of project, which presents a Utopian Landscape , a model urban poor with housing characteristics covered with decorative landscaping - defensive predominant in residential and luxury homes.
The garden as natural urban landscape in the contemporary sense, is implemented when the French people aristocratic view the lush gardens of the eighteenth century, after the turmoil of the French Revolution. Thus, the work takes a historical sense, reaffirming also the current connotations.
" The term" garden "known since the twelfth century, the compound appears to come from Latin-Germanic" HortusGardinus "which literally means" garden surrounded by a fence, "as if the garden had to defend against animals and even thieves. "
* Dennis Navas, statement of work.
Santiago Sojos
News scraps
Polyptych - mixed media on board Measurements
2011
Interests in Santiago production are based on the perception conditional representation, which is due to arbitrary conventions committed to using media images of mechanical reproduction closely related to graphic design , in the Warholian spirit references focused on family, popular culture The recovery of objects considered anachronistic aesthetic, as well as the intervention in public space and the use of images that do not require academic knowledge or special training. Santiago
extracts were announced advertisements in magazines of different genres, which appeared and had a boom at the beginning of the last century between 1900 and 1930 very specific ads that advertised at present cause for its strangeness, a ludicrous interpretation.
News scraps polyptych is a randomly ordered, subject to variability in composition and size for his character work in progress , which by the exercise handcrafted signage and screen printing precarious modes of traditional advertising deeply rooted in the popular city, appropriate and large-scale reproduces these notices in the form of signs and labels on wood.
De Thus, at the generalization of serial reproduction virtually unlimited and character deshistorizante attributed it, immersed in a technological context, the process of re-presenting these advertisements anachronistic Benjamin evokes the aura and claimed as an aesthetic value in the search for a collective historical memory.
Photo diluted and acrylic on canvas
180 x 200 cm.
2011
Jimmy research under intense experimental searches the media themselves and ways to update and confront generated.
Zero Degree In , the artist in a kind of situationist drift, finding walking has made a photographic record of places where housing eviction not reported as legally part of the city have been demolished. Jimmy
the dye extracted from these images through a chemical process, dissolving the image as a metaphor for collapse, then through the practice of painting using the pigment extracted relocates these " representations / structures falling " on the picture plane, which has reproduced part of the grid map of the city where the sectors are shown photographed.
The evident contradiction as a discursive; based build ruins, the persistence of the technological image versus the inherent fragility of the subjects the voracious media . This refers to the instability of memory, the inevitable premature exhaustion suffered by the image on the culture of the immediate , and also reflects on the conditions that shape the urban landscape.
Pedro Ciales
Table-Canto-Testa
Installation - iron rods
Variable dimensions 2011
Pedro works questioning the devices mimetic representation, where reality it is combined with , noting the dubious provenance images and the uncertain appearance of the forms or vulnerability of the senses.
Tabl In to -Canto-Testa , with a subtle exercise drawing, using the most basic form is and represents the space, a cube , uses the same underlying metal rods architectural constructions and manufactures trompe this puts on evidence that X-ray, skeletal a wall revealing its constituent units, the bricks and where more than say, raises questions about space as a psychological construct .
XXX? 
0 comments:
Post a Comment