Digestive process. Fissures Project
Intervention at the Luz y Suarez del Villar Gallery. Madrid, Spain. 2008. Projection, mixed media drawings on cardboard, glass objects and wrapping materials. Variable dimensions.
About DIGESTIVE PROCESS. Intervention within the framework of the FISURAS project.
With the work DIGESTIVE PROCESS I propose:
1-The notion of the exhibition space as a single whole, or the dialogue between the work as an element with respect to the space as a support.
3-The idea that the work can continue to be generated through the magnetization of other possible objects and drawings. When you go through this installation up to a point, there is always the sensation of continuity, that the work could extend infinitely, and be renewed through new sensorial connections.
4-Under the essence of work-in-progress: in which the meaning of a certain idea is acquired over the continuous process of a work that manages to be as extensive as the space and time of work available, what I pursue is to generate the sensation that the process of realization is as vital as the unfinished notion of each staging by itself. I am interested in highlighting the work process understood as a way of refunctionalizing the approaches to things, so that the same concept can be different not only from the perception of one person to that of another, but from one moment to another of the same person.
5-Digestive Process poses a chaos in the midst of the apparent order that links the visuality of this work with that of previous installations. Even when the elements seem to be presented randomly, the meanings seem to respond to a predetermined order.
6-I articulate the elements in space as if I were articulating a text, which instead of words uses expressions collected at different times, through different supports and different pretensions.
7-I work based on a principle: that it is impossible to appreciate the whole at a single glance, but at the same time I propose the simultaneity of the parts, generating chaos as a result.
8-This time, the unification of space occurs through drawings and the relationships between photographic documentation of previous works that are distorted by the angles of reality, occasionally alluding to other moments of the same objects used in the installation. A common thread that recovers the sense of the gallery as a “chaotic” space to digest different orders of the same concepts, claiming some ways of dialoguing from art with the work itself.
Introductory words: Luz & Suárez del Villar Gallery
By: Rayma Luz
Today, October 31, the Fisuras exhibition opens, continuing the line drawn by the “Luz y Suárez del Villar” Gallery with its inaugural exhibition “Chronicles of Enthusiasm”. The Gallery once again supports the new generations of Cuban artists whose artistic projection is based on a renewed art where influences of neo-expressionism and abstract intentions converge, as well as conceptualism and transavant-garde.
Independent artists who have wanted to stand out from the existing trend among the island's well-known "greats." These young people say, "everything is possible" and reflect it in their work, taking the brush and the canvas, the wood, the plastic, and various "palpable" elements as a revitalized claim to ART that has been set aside by many in favor of new technologies.
The dominance of new media is strengthened, but art returns to its origins without renouncing the finish of postmodernity. Venturing into any medium with ease, creating fresh art in a continuous back and forth between the abstract and the figurative, between the conceptual and the procedural. The themes range from eternal social, political, or identity themes, to the most naive everyday life. It is advocating saying a lot with very little in the midst of a hostile context lacking the healthy risk of transformation.
They burst into everyday life with their work through art, undeniable and palpable, leaving aside humiliating servility and bureaucracy. They are independent.
The Luz & Suárez del Villar Gallery with the presentation of “Chronicles of Enthusiasm” on its opening night in Madrid acted as a unifying stage for this movement of Cuban artists, acting in its hall as the catalyst for a critical attitude that reveals fissures in the system designed to control the creation and consumption of art in Cuba, proposing not only art for art's sake but as a strategy of social inquiry and far from promoting aesthetic or conceptual patterns that expose art as a sense alienated from the cultural system that generates it.
The Fisuras exhibition, which will take place from October 31 to November 30, is a continuation of what will be the gallery's line of action. Art as a document of an era from the space and the real contemporary historical moment in which it is generated as an alternative to continue inserting itself in the processes of life, life is diverse... diverse as in Cuba, diverse in its points of view and in the way of bringing them to art.
Starting in the 1980s, new generations of Cuban artists began to question values as "sacred" as the homeland, the symbols of national identity, the almost sanctified heroes of the national altar and above all, the canons and precepts on which the "new type" Cuban society was based. Examples such as Angel Delgado defecating on the Granma newspaper, the official organ of the Cuban Communist Party, as well as the use of the flag as a symbol that questions an identity and does not strengthen it, through unorthodox and irreverent aesthetic resources and supports, were the most reliable sign of this trend that fell into stagnation and dissolution towards the end of the 90s.
The 00's generation has taken a new approach to this resource, doing so from the perspective of the century that has just begun and which has posed a new, unknown and disturbing challenge for Cubans: the homeland without Fidel Castro, once again Cubanness and hyper-patriotism in the mix, but seen from what will come and not from what was, or history in reverse.
Digestive Process
Photo gallery:
With the work DIGESTIVE PROCESS I propose:
1-The notion of the exhibition space as a single whole, or the dialogue between the work as an element with respect to the space as a support.
Continue reading
2-The objects selected for this installation function as raw material from which the primary meaning they had as a finished work in other installations is annulled. They acquire new content when they are reordered in new contexts.3-The idea that the work can continue to be generated through the magnetization of other possible objects and drawings. When you go through this installation up to a point, there is always the sensation of continuity, that the work could extend infinitely, and be renewed through new sensorial connections.
4-Under the essence of work-in-progress: in which the meaning of a certain idea is acquired over the continuous process of a work that manages to be as extensive as the space and time of work available, what I pursue is to generate the sensation that the process of realization is as vital as the unfinished notion of each staging by itself. I am interested in highlighting the work process understood as a way of refunctionalizing the approaches to things, so that the same concept can be different not only from the perception of one person to that of another, but from one moment to another of the same person.
5-Digestive Process poses a chaos in the midst of the apparent order that links the visuality of this work with that of previous installations. Even when the elements seem to be presented randomly, the meanings seem to respond to a predetermined order.
6-I articulate the elements in space as if I were articulating a text, which instead of words uses expressions collected at different times, through different supports and different pretensions.
7-I work based on a principle: that it is impossible to appreciate the whole at a single glance, but at the same time I propose the simultaneity of the parts, generating chaos as a result.
8-This time, the unification of space occurs through drawings and the relationships between photographic documentation of previous works that are distorted by the angles of reality, occasionally alluding to other moments of the same objects used in the installation. A common thread that recovers the sense of the gallery as a “chaotic” space to digest different orders of the same concepts, claiming some ways of dialoguing from art with the work itself.
Introductory words: Luz & Suárez del Villar Gallery
By: Rayma Luz
Today, October 31, the Fisuras exhibition opens, continuing the line drawn by the “Luz y Suárez del Villar” Gallery with its inaugural exhibition “Chronicles of Enthusiasm”. The Gallery once again supports the new generations of Cuban artists whose artistic projection is based on a renewed art where influences of neo-expressionism and abstract intentions converge, as well as conceptualism and transavant-garde.
Continue reading
This generation is presented as a kind of new era that is emerging in this first decade of the 21st century and that will undoubtedly be the new reference for Cuban art.Independent artists who have wanted to stand out from the existing trend among the island's well-known "greats." These young people say, "everything is possible" and reflect it in their work, taking the brush and the canvas, the wood, the plastic, and various "palpable" elements as a revitalized claim to ART that has been set aside by many in favor of new technologies.
The dominance of new media is strengthened, but art returns to its origins without renouncing the finish of postmodernity. Venturing into any medium with ease, creating fresh art in a continuous back and forth between the abstract and the figurative, between the conceptual and the procedural. The themes range from eternal social, political, or identity themes, to the most naive everyday life. It is advocating saying a lot with very little in the midst of a hostile context lacking the healthy risk of transformation.
They burst into everyday life with their work through art, undeniable and palpable, leaving aside humiliating servility and bureaucracy. They are independent.
The Luz & Suárez del Villar Gallery with the presentation of “Chronicles of Enthusiasm” on its opening night in Madrid acted as a unifying stage for this movement of Cuban artists, acting in its hall as the catalyst for a critical attitude that reveals fissures in the system designed to control the creation and consumption of art in Cuba, proposing not only art for art's sake but as a strategy of social inquiry and far from promoting aesthetic or conceptual patterns that expose art as a sense alienated from the cultural system that generates it.
The Fisuras exhibition, which will take place from October 31 to November 30, is a continuation of what will be the gallery's line of action. Art as a document of an era from the space and the real contemporary historical moment in which it is generated as an alternative to continue inserting itself in the processes of life, life is diverse... diverse as in Cuba, diverse in its points of view and in the way of bringing them to art.
Starting in the 1980s, new generations of Cuban artists began to question values as "sacred" as the homeland, the symbols of national identity, the almost sanctified heroes of the national altar and above all, the canons and precepts on which the "new type" Cuban society was based. Examples such as Angel Delgado defecating on the Granma newspaper, the official organ of the Cuban Communist Party, as well as the use of the flag as a symbol that questions an identity and does not strengthen it, through unorthodox and irreverent aesthetic resources and supports, were the most reliable sign of this trend that fell into stagnation and dissolution towards the end of the 90s.
The 00's generation has taken a new approach to this resource, doing so from the perspective of the century that has just begun and which has posed a new, unknown and disturbing challenge for Cubans: the homeland without Fidel Castro, once again Cubanness and hyper-patriotism in the mix, but seen from what will come and not from what was, or history in reverse.
Digestive Process
Photo gallery:
Digestive process
Fissures Project
Luz y Suarez del Villar Gallery. Madrid, Spain. 2008
Fissures Project
Luz y Suarez del Villar Gallery. Madrid, Spain. 2008