Sunday , November 29 2020

The two-year dialogue of XIV with the notion of diversity

The notion game and on interaction is featured in works like 3 sections by the American artist Marcius Galan, a white cabin that looks divided, crossed on top and three-leaf green glass. Curious viewer will find that the plates are an optical illusion but still hesitate and afraid that he encounters non-existent glasses.

on work from painter, whose work plays with the fragile boundaries of non-existence, dysfunction, imbalance, are part of the Empires of the plural, a special show of Cisneros Fontanals Art Foundation (CIFO) for XIV Edition of Cuenca's Biennial, opened last Friday evening in the capital Azway. "Empires of the plural" occupies the headquarters of the City Museum (Central School), even with facilities displayed in the trash can of this repository.

on multiple, the idea of ​​art as an experience of experience, which may include, which promotes diversity and coexistence, is critically acclaimed in the title of a special exhibition in which the plural becomes an empire – at least in a linguistic form – and in contrast to the positive form in which concept appears in the general heading of the official sample.

"Living Plans, Art as a Plural" is the title of this edition that will remain open until February 3, 2019 in the 25 City Areas swimming pool, featuring 46 proposals -53 artists from 17 countries – in the official sample. on event also has two special exhibitions, four parallel and satellite initiatives of independent managers who have mounted their own exhibitions.

The idea of ​​contact and the generation of interpersonal relationships play a predominant role in this edition, according to the show's curator, Venezuelan Jesús Fuenmayor. on Curatorial conceptualization of the Biennial appeared above all as a reference to the Living Structures (1969) by the Brazilian artist Ligia Clark (1920-1988), which is part of the official exhibition of the event.

In the 1970s, Brazilian artist he gives up sculpture and painting, in what is called abandoning the art of Lyria Clark, and begins to produce his "proposals", a series of objects and installations made with simple materials. In "Estructuras vivas", which is exhibited at Casa de la Bienal de Cuenca, he uses elastic connections to weave structures – a network of glued rubber bands – that has changed from playing to the audience.

People find another way that can be connected through art, because in game there is always an invitation to create different relationships, says the curator two years old, who explains that he wants to move away from the perception of art as a means of admiration – an implanted and replicated concept based on the European model of the museum – and to consider art as a connection and experience of experience – the answer to the Latin American cultural context.

Experience is key in terms of multiple, said Fuenmajor. "In Latin America, we learned to live art in our own flesh, as a different response to European tradition, because continuing to change beauty patterns does not take us anywhere. "And in the constitutive week of the contest, performances in public spaces became relevant, including the audience with artistic actions.

Ecuadorian Santiago Reyes, who participated in five different slides, brought three performances in "Teatro de la Casa de la Cultura" – he danced to the sound of his heart, established a dialogue with his shadow and found himself on a cornice on the facade of the building on which a sound appeared. video with the movement of his eyes.

Fuenmeyer points out that with the title of the special exhibition, which also has its own custody, wanted to draw attention to the fact that "the multitude at all costs can be turned against" society itself. "Diversity is not a guarantee that art produces significant experience," he adds.

Quality is subjective; the important thing is that the works of contemporary art to create a meaningful experience for people that society makes sense, even if they do not like that. "

Cristobal Zapata, Chief Executive Officer of Municipal Biennale Foundation in Cuenca, explains that most of the works of the official sample derive from the dialogue of artists with the city and from the dialogue with people: neighbors, offices, potters, workers, academics and researchers who cooperate in the realization of the works, the conditions of production or installation. "The city is not just the container and support for artistic projects, but also the great theme and content, or at least the secret agent of the contest," he said.

Spanish Patricia Dauder, who works on the subject vulnerability and fragility from his own experiences he produces 30 black ceramics with local craftsmen, who are exhibited at the Museum of Modern Art.

While in Museum of Concepts the artist will show the ceramic pieces she brought from her workshop in Spain, "Los Palos del tiempo", which she left buried for several weeks in the garden of the museum.

In plural, the eyes of the other are included. And this is the case with the proposal of Columba Leila Cardenas, which works from the reality of the cityCultural Heritage of HumanitySince the owners of certain heritage houses can not destroy their property by law and in many cases do not receive state resources to restore them, "people have found methods so that houses that are in a very bad condition worsen faster, "explain from curatorship. One method is to apply water to the walls systematically until they collapse on their own.

Kardenas took a picture of a facade a bare wall that will fall, with supports that support it. The image was printed on silk in a large format of four meters long, then the silk-stitched vertical threads had been pulled out – for months, so that when the horizontal threads were left, the image was sparse and ghostly. And it turns out that silk – the ghost of the house – holds the pad. The track is displayed in Municipal Museum of Modern Art, which hosts works by 20 artists.

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