THREE BANDS PLAY: THE THREE FACES OF EVE GALLERY
CASTELLOTE RITA: 04/02/1911 to 04/30/1911
(original article in Revista Claves de Arte: http://www .revistaclavesdearte.com/critica/21055/Tres-Caras-de-Eva-en-la-Galeria-Rita-Castellote )
Having survived more or less success to the fever that Postismo took place in past decades, it seems that now, as they say, after the storm comes the calm. Assayer in postmodernity as liquid that seems to start to give way-via financial crisis, it must be said, to a second and modernity in the making, and few remember the postmodern multiculturalism, of the successive deaths phallocentric and logocentric, to make way for a more consensual thinking in terms of cosmopolitanism.
In the latter case is that, as we remember Gerard Vilar, "the success they had criticisms of the reason, the subject, the representation and the consensus is today that lead to absurd and untenable position: who is willing not to be subjected today (free of rights, different) and not be right in philosophy or think about the world and what to do? ".
Then modified the terrain on which underlies all speech, perhaps now that the various "isms" have to turn around and join nearly not to the lawlessness of the already converted cynical reason, but agree on the modernity that make effective, unable to renounce his side emancipatory project has remained unfinished.
In this sense, the exhibition that until next April 30 can be seen in Gallery Rita Castellote a reflection on the conditions under which one might even appeal to feminism, a feminism and fifth generation. And, as you said the road show "no trace the history of women's rights and suffrage included, in addition to the claims started in the sixties and I collected, feminism fifth generation of our day, is to scrutinize ourselves, but no whining take life by the reins. "
Curated by Catherine Mchugh Coleman, Head of the Reina Sofia Museum N26 and within this great event which has resulted in three bands Play , the exhibition brings together three artists, so autobiographical, emphasized by before and after the new conditions under which it is inserted feminist discourse.
Veronika Márquez (Montevideo, 1979) has in his photographs of aseptically, and no illusory effect two women who, by dint of the narrative leave off, produces an impression of strangeness in the viewer. Even doubting whether or not the same person, the questions one can be dramatically deepen in that community space in which all communication occurs. The artist returns to its past as a prostitute to perform a striptease too ideological poetic rhythm in the video that accompanies the photographs. Is not that which is yet to be seen, everything that comes to fill the space where their own identity to emerge in this case the woman?
Cabello / Carceller (Paris, 1963, Madrid, 1964), English artist duo who already represent themselves as artists, a device for communication and debate, participate in a work that inserted into the overall concerns about the problems of identity and gender, resulting in the hegemonic male and scope of confrontation, struggle and violence. Although the exhibit does not belong to their latest productions, you can see these days a fuller exposition of his work at the Galería Elba Benítez.
Finally, the most radical work, if only in the staging, is to Jana Leo (Madrid, 1965). Raped in 2001, shortly after moving to New York, her artistic work has since focused mainly on documentation, through photographs, documents, both private and police, and even sound recordings of the trial "of such an event. The sample was held in 2009 in New York and in which the artist gathered all this material now has its mirror-mode-obviously reduced in the exhibition before us
Roto normal cycle memory the brutal and savage event the artist is busy, from an amazingly objective and leaves nothing to censorship, to explore the regime of absences in his whole life has become. Two photographs, one before and another the day after giving good test: if the aim is to capture absences, see the photo paper that now has become invisible. In this sense, the work of Leo is inserted into the practices to which the Commissioner has been directed with masterly hand: no longer a revolutionary feminism, but feminism that postulates the emergence of what is forgotten and silenced, a feminism as a mode of communication and debate, emergency processual identity not as a confrontation phallocentric but the effect of a communicative praxis itself.
Thus, it is easy to conclude that, to give by-case has nothing to do this exercise with the famous autobiographical Tracy Emin's bed , like do not have much to do photographs of Cindy Sherman dressed with the work of Veronika Márquez. If before it was expunged ghosts, leaving a trail of losses, to fight for their identity, now everything points to the plausibility of a sphere which mediates between a 'before' repressed and distressed, and an 'after' than the sheer violence of the tax or the melancholy of denial.
In short, not that Eva has only three faces, is that it is infinite. Mission of art, and in the case of this exhibition overcome with note-is to help make them visible.
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