Tuesday , July 27 2021

The XIV Biennial Dialogue with the concept of & # 39; a plurality



The concept of & # 39; play and & # 39; interaction is present in & # 39; works as Sections 3, by American artist Marcius Galán, Which seems broken egg dividing, divided the party & # 39; & # 39 and wide on; three sheets & # 39; green glass. The curious spectacle discovers that the plates are an optical illusion, but still scared and think & # 39; & # 39 coinciding with; glasses that do not exist.

the – work of – artist, That his work plays with the fragile limits of non & # 39; existence, lack of & # 39; functioning, without equilibrium, are part of the "Empires of-the plural", a special exhibition of Foundation Collection for Art Cisneros Fontanals (CIFO) for – XIV Edition – Biennials of & # 39; Cuenca, Inaugurated Friday the week in the capital & # 39; the Azuay. "Empires of the plural" occupied the headquarters of the City Museum (Central School), even with & # 39; facilities exhibited in the bone room & # 39; that repository.

the – plurality, The concept of & # 39; art as experience experiential able to include, encouraging diversity and coexistence, raising b & # 39; a critical way to the title & # 39; special exhibition where the plural empire becomes, at least in & # 39; oral form, and b & # 39; by contrast positive form in which the concept appears in the general title of the official sample.

"The structures of life, art as a plural experience" is the title of the current edition, which will continue & # 39; open until 3 & # 39; In February 2019 & # 39; 25 area of ​​the city & # 39; basin, With the participation of & # 39; 46 proposal -53 artists from 17 countries – in the official specimen. the – event In addition, has two special exhibitions, four & # 39; parallel initiatives and satellite & # 39; independent managers who have their own shows.

The idea of ​​& # 39; contact and generation & # 39; interpersonal bonds have a leading role in & # 39; this edition, according to the curator of the show, the Venezuelan Jesús Fuenmayor. the – The conceptualisation of the curators the Biennial emerged, above all, as a reference for most & # 39; Living Structures & # 39; (1969), the artist Lygia Clark Braġjan (1920-1988), which is part of the official exhibition event.

In 70 years, Brazilian artist he renounces sculpture and painting, f & # 39; what is called the art of abandonment & # 39; Lygia Clark, and starts producing its proposals, series & # 39; objects and installations made with & # 39; simple materials. In "ESTRUCTURAS Vivas", which is exhibited at Casa de la Bienal de Cuenca, used elastic ties for the mesh structures – web & # 39; rubber bands knotted – changed the game audience.

People discover otherwise can & # 39; is related by & # 39; art, because in play there is always an invitation to create different relationships, says the curator of the & # 39; Working Group biennial, Explaining that he wanted to move away from the assumption & # 39; art as a means of & # 39; admiration – implanted concept and replicated based on the European model of the museum – and considering the land as experiential relationship and experience -reazzjoni cultural context & # 39; Latin America.

Experience is crucial in & # 39; & # 39 terms; plurality, Says Fuenmayor. "In – Latin America learned to live – in art – our own flesh, as different answer – European tradition, Why change to continue the work of beauty trends do not get us anywhere ". And in the inaugural week of competition, performance in public spaces has become relevant, involving the public in & # 39; artistic actions.

The Ecuadorian Santiago Reyes, who starred in & # 39; & # 39 with five presentations, different pieces, three chain performances Theater in the House of Culture – prepared for his heart sound, established a dialogue with & # 39; his shadow and went on kantiċita on the front of the building where it was projected sound. video with movement & # 39; his eyes.

Fuenmayor points which entitled special exhibition, which also had curator, Was to draw attention to the fact that "the plural at any cost can & # 39; contrary to" society itself. "Diversity in itself does not guarantee that art produces significant experience", he adds.

Quality is subjective, the important thing is that the works of & # 39; contemporary art produces significant experience for people, the public finds sense, even if do not like that sense. "

Cristóbal Zapata, executive director – Municipal Foundation Biennial Cuenca, Explains that most of the works of the official sample resulting from the artists dialogue with the city and dialogue with the people: neighbors, cabinets, butchers, workers, academics and researchers, who collaborated on execution of works in terms of & # 39; production or installation. "The city is not only the container and the support of & # 39; artistic projects, but the theme and great content or, at least, the secret agent of the competition", he said.

Spanish Dauder Patricia, who works on the theme of & # 39; vulnerability and – fragility from his own experiences, he produced 30 black ceramic piece with & # 39; local craftsman, which are exhibited at the Museum & # 39; Art Modern.

While in – Museum Concepts the artist will show ceramic pieces brought from his workshop in Spain, & # 39; Los PALOS del tiempo & # 39 ;, left buried for several weeks in the garden of the museum.

The plural includes other watch. And this is also the case of Leyla Cárdenas Colombana proposal, working from the reality of the city, Cultural Heritage & # 39; Humanity. As owners & # 39; some houses & # 39; heritage can not be stopped their property by law and, in & # 39 most cases, to obtain state resources to restore, "people have discovered ways to homes that are in & # 39; very poor condition deteriorate faster". explained the curator. One method is that the water is applied to the walls, b & # 39; systematic way, until dissolved alone.

Cárdenas took a picture & # 39; a front naked wall, about to fall & # 39 ;, with struts supporting it. The photo was printed on silk f & # 39; large format & # 39; four & # 39; meters in length and then lifted the vertical wall silk, work & # 39; months, so when left only horizontal threads image becomes diluted and spooky. And that is silk – the ghost of the house – to keep the prop. The – piece displayed in – box Municipal Museum & # 39; Modern Art, In which the works & # 39; 20 artists.


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