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
,