Thursday, March 31, 2011

The Wizard Was Interrupted Before Pirates

Marcelo Aguirre - Pictures - The Container, Quito

Photo Gallery: Pepe Aviles




Text key "light" for the Journal armchair (well actually the magazine was never published, so maybe it's share)
Marcelo Aguirre: balances, inventories and payables.
By Rodolfo Kronfle Chambers
In the month of February was presented in the Gallery Series The Container latest artist Quito, simply titled "Portraits."
could say that much of the work of Marcelo Aguirre is brewing after a life experience. His series are due to such visceral reaction to the reality they experience, is this your answer to the political or existential inquiry intimate character. Always settled in languages \u200b\u200bthat have marked history expressionist aesthetics Aguirre's work is mostly perceived as impulsive gestures of representation. Therefore
events that shook the world in October 2009 could not fail to be decanted visually in one way or another. A diagnosis of leukemia reconfigured their perspectives on life. A grim picture was perceived as a race against time to acquire a priority determined, parallel to medical therapy, overtones of catharsis and release: Aguirre saldaría what he called his "debt to the portrait." He began by admitting that no delay, his mother, brother and children - to follow in their close friends and other relatives. These 33 "other" Franks added a pair of self-portraits (one made to start the series and at the end) as bookends to hold the collection and emotionally aware of that essential "I" marks the beginning and the end of this hard stage.
To challenge the time factor artist design an efficient method to counteract the anxiety of being left halfway through your project. The fabrics would be based snapshots taken in a very spontaneous with his camera. Then would project the images on each canvas, and from that using acrylics and a carefree quick strokes bill would complete each painting in one session of about two hours. The effect is very attractive, so I agree with the artist once said about the visible brush strokes "in a gesture says it all."
This abrupt approach, suitable only for tanned skills allowed him to recreate a world, which saw vibrates together with an unusual intensity, something that we could escape if you appreciate a separate box solo. For understand it as much exposure as one work, as an inventory, which must be understood in the relationships between fabric and woven fabric as the rootstock affects that contains an existence. It's a metaphor, in that sense, very powerful and profound: a balance, a collection of anecdotes and a stratigraphic cut their human experience. Equivalent to an album that contains a sea of \u200b\u200bstrengths, and that seems to have wanted to bequeath.
Personally I never felt that the artist had a debt to the portrait, I have very much present a series of her own which is among my favorite works of Ecuadorian art in recent decades. This is an impressive and unforgettable gallery of dogs ( Gallery Pictures, 2004), each of the 40 inks in a very acute reflecting the character and to the psychological profile of the animals. The profusion of them makes the whole is of great interest to me because whenever you see me driving, though it is dog-to think about the man and his complex, their sorrows, their insecurities, etc. I find it almost as interesting as the main anthropological portraiture delirium in the country: the Yellow Room at the Palacio de Carondelet, whose terrifying imagery leads us reluctantly remember every time we think of this kind in Ecuador.
artist I want to contradict something. The gallery presents a file more than portraits of faces. Close-ups of faces that cover almost the entire composition. Practically no poses, no bodily gesture that complements the subject's facial expression. There are flat bottoms instead of bright colors, bright red, purple, violet, green and yellow, to which just highlights not only the face, but the most telling attribute of the individual: the eyes, often meeting with ours and -based photo-reference with the same artist. The portrait usually denotes order, the attention on the pure face instead, the approach of (re) knowledge. In the characters in this series have been exempted from what is, become prominent factions can return the memory to be probed.
Life was generous with Aguirre, the countdown stopped his progress. Already recovered and free of disease until Marcelo jokes a couple of months ago told me that "chemo" was the only drug that had failed to prove. Genio ... to the grave.
New York, February 10, 2011











The workshop ... racks after ...









Marcelo Aguirre
Portrait Gallery (2004) Ink on paper
(sorry for the photo cell)

Wednesday, March 30, 2011

Big Boobs Of Above 50 Years Old Women

Golf Association - Simon Bolivar Cultural Centre

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.


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!

Monday, March 28, 2011

How Can I Remove Smartst From Navman Icn 520

Juan Carlos Leon - Memorial Day - NoMínimo




MEMORIAL DAY
From representation to data visualization,
design and statistical reference.

This exercise is an approach to design forms of public monuments, and the particular way of assuming a particular sociocultural context. Basically it is proposed to create monuments to update their commemorative function, rememorante and history, an exercise in political persuasion updated as the dynamics of cultural consumption typical of modern societies. It is caring about what will happen, things that can happen or that happen.
But how can you speculate on what will happen? In these projects becomes important reference point for the statistical measurement systems, which allow to forecast through facts and figures. Another important reference constitute political campaign plans, the revival and the imposition of power exercises. Without making an inquiry about what political understood as partisanship, or specific power struggles, and instead of representing them visible social problems, it is proposed monuments slide towards the social idea based on numbers and quantities. Therefore, it becomes important visualization exercises data, and graphics tool in relation to graphic design.
This is evident when taking the design of monuments, because they deal with the assimilation of technological resources and processes display information; there a concern about its use beyond its traditional commemorative function. This is evident in that each has certain operating rules that articulate their position on the public space, which is conceived as the field of citizenship, and the struggle for symbolic power. The monuments are presented or violate conventional norms that characterize the monuments in general, for example some around for the convenience of the moment, and the ideology of the day. And others are created to interact with people who consume them, as the monument with microphone for those who have no voice, or that is dedicated to the mass divided.
These monuments do not mention (or presentizan) historical situations such as wars and battles, momentous, or construct imaginary characters. Do not respond to a specific discourse. Can be used by any party or political campaign strategy. Change depending on the situation, mobile, variables, transportable deterritorialized, define themselves (because they can self-define as the trend) is thus open the way can be interpreted and appropriated by those who watch them. Not define a specific political or institutional position, and this supports their inclusion in different contexts.

Juan Carlos León, and Ana Rosa Valdez
Guayaquil, March 2011

Photo by Leonidas Corozo