Untitled - Anna Best
Transcripción
Untitled - Anna Best
A A rti s tas Venezuela Emilia deAzclraIe Eduardo Azuaje Carola Bravo Mariana Bunimov Joel Casique Marylee Coll Alexander Gerdel AliGonzdlez Eduardo Molina Luis Romero Anna Bestlnglaterra JuanCarlos Delgado Colombia Naomi Fisher Fslados Unidos AlexHamilton Australra Melvina llazardTri nidad Renwick Heronimo Aruba Dora Longo BahiaBrasil Matthew NguiSingapur Geoi$es Plruender Suiza Raquel Schwartz Bolivia Anna BestLuisBamera. Walkslcaninalas. Acci6n.2000 pond (Venezuela) ofanartificial thesurface thatwasfound Alexander worked above Gerdel onvariations and strings place itandholdontoit. asawaytocapture events taking bothinthelandscape andinarchitec- onthemainroad, Heplaced turalspaces. onthepathway between themain lorms, Marylee Coll(Venezuela) ofarchiteciural house andthestudioaFrench doorwhich strong lysugges- Inadialogue Although ofthehacienda. the toworkinthechurch tedtheconcept oftheRenaissance window. Heusedit to decided photograph isnotvery old,thesitehasahistory.The church itwhathappened through inthelandscape, on construction owner oftheestate destroyed the iltafter theformer oneside,andonthepathway, ontheother.This fragmentedwasrebu theicons andsaints asbull's construction,using visionconditioned bythereticular structure oftheFrench original helped to exercises.This anecdote forhisshooting window represented fortheartistawaytoshow thecrisisof eyes lacki nganydecstate ofthetemple, thepresent theways ofrepresentation andolcertain mechanrsms used understand andwithastylethathintstocolonial archr- Anna elements tocapture real ity.Healsomade aseries ofphotographs con- orative Best Taking advantage ofthislackofsymbolic elestyle. asstilllives,themainelements ceived ofwhichwerethe tectural process.What gestures hercreative canartbe?How canitbekept alive? character, Collbegan ofareligious rubbish, leftovers, andtraces leftbytheartists on ments questi1ns inLondan.rhere these ofChrist crucif iedwasmrssing the Asking thattheimage thetablematsafterthemeals, to Noticing sincethese alsoalluded le areallover saturated -whercwe cannol inuou scape thealn1spherc0fc1nt scu|ontheleftflank,theartistdecided to etwal laceration wanted traditional thenotion ofareticule theartists toworkwith. pt1ducli1n L1nandc1nsunpti0n. thewound withsmallembroi- donafti stsyearnfu time,andforrelIectioh, it andreconstructed correct h1wadand1penness.We ask ourselves flow- istscanbetrulyfuncti1nal acascade ofminute PartofEmilia Azciirate's recent workhasbeen, roses andfromit,created toadegree, dered inthissociety? and Iasked nyselt thisquesti onin Tacata, thesidewalls Forthe I got1ome through ofthechurch, marked bythesignsofa innerrhythm, bya digitalflux, ersthatflowed postlive, newanswerc.M0re njte c0nsclous, n0te1penness, with nucn anoldtaleofcontradictions mechanical whichoriginates intheuncon- artists, thiswasanoffering, andobsessive, N1wath1ne.I tryt0beandnue time. t0be level, iscoher- c1me atravelletat least1nceaweek; meaning that,onaformal religious scious andinherdeep beliefs andthat shehas theecclesiastical open andaware.That'swhat Igamed frzn ofherpaintings.Coll doesnot going language used todevelop anartistic thathasthefingerprint entwiththecharacteristic loLaLlama. t0 Luis Grucias toallLaLlanas, withtheembroi- Much1 butpaints canvases doinstallations asitsessential element, Since herworkhasbeen substan- usually Alexander Ronerc, Viviane Chonchol, Fanilia Hacienda T;icata Aniba, associated withwomen. Asacorol- Gerdel, reinventing itthrough tiallyIinked tonature, theuseofvar- deryworktraditionally Pbr ez,Fam iIiaCasti ||o,TriangIeArtsTrust, experience, theartistdecided tomake andtheBiltishCouncil. iousmaterials, thedairyfarmofthehacienda served the larytoherreligious puede andwhitewash, amixture of 1,0ue outofdirt,cement mantenerartists bothtocollectthedung shehasbeen using inaseries agiantheart serelarie? aCOmo preguntas lovivo? lvlehag0 estas enL0'rheart andthedrawings ofchildren, andplaced dres, large ofworks andasexhibit space.The canvases withcon- therealhuman d0nde tod0s estamos s0bresaturadonde nos esimposible escapar ala patterns treeslocated attheentrancedos, oftwoCotoperix centric, circular, radial, dynamic hadanapparent itatthebase yconsum0 culatmdsfera deproducci6n Losartistas deLondresari0 linkwiththe turalc0ntinu0. thusestablishing anemotional minimalist intention andintimately connected theprocess ofthechurch, poder ypoder reflexiorar rantener tiempo. aspects ofthetree. thefinal result. space andthesymbolic and abiert0s. N0spreguntamos c6mo sermes puede en serunartista unserfuncional Theartists started herworkday atdawn collecting thedung Mehiceestapregunta en estasociedad. y 0btuve respuestas. lVds nuevas linethatstarted withthemarble maps Tacata athematic fromthefirstmilking, thusavoiding itscontamination. She Following positividad, mucho mds mas consciencia, (Venezuela) ymiistiemp0. Bravo decided tosteal the apertura Carola vuelta en thentransported itandworked itwithherhands, the ofthemoon, Ah0ra,de starting p0rl0 casa,trato dec0nverlirme enviajer0 process ofaworkthatwould men0s ofthisseries ofworks. Inoneofthecanvases, we nightstar,turningit intothesubject una veralasemana: serabierta , Eso fueloquegand deLaLlaShepainted imaginary moon consciente, theworkshop. canseethenatural traces leftbyacalf. develop during graciaS lasllanas,a ma.lVuchas atodas Ch0nch0l,Alexanwithiridescent ink,andtookoverthebelfryand LuisRomero,Viviane landscapes Arriba. la derGerdel, laHacienda l6cata photograto display her of ofthe church series TheVenezuelan Eduardo Azuaje likes workthemes the stairway artists to Familia Pdrez, laFamilia Castill0, Triangle y Trust, British Arts al Council. starmade theworkshop. With during related mytholo- phsoftheemblematic tonature anditslinkswiththeindigenous giesofourcountry. as cow milk, she had a moon-shaped materials, such Herevisited idea his made local anold of and gathered fantasy made, alludingtothechildren's ofthemoon withnatural materials his cheese aseries ofnests during place used honey fi | | number ng She also to a ofconwalks hacienda. At he bei cheese. through the theend, themon plastic placed palm her version along the bells, as royal circles thetrunks andatthebase ofthe treesnearthe centric honetlmoon. hacienda's house. main Inasecondwork, hemadeanetwith ofthetraditional 1 0 Aq | l n n l r to i l , ^ndroc ,