Ver más
http://www.facebook.com/photo.php?v=417641504921160CARNIVALISMO- Fragmento Video de Issac Montoya en AuralSituadas en la planta inferior se encuentran la serie RECONSTRUCCIÓN, la última exposición de Isaac Montoya y la primera individual en la galería Aural, la canción del mMnejante compuesta por una instalación de tres cajas de luz y el video Carnivalismo, editado con una tecnología específica que se presenta como primicia después de dos años de trabajo. Del 05/05 al 30/06/2012
Ver más
http://www.facebook.com/photo.php?fbid=417541161597861&set=a.417541051597872.114746.100000259422076&type=1&theaterFotos de Aural Galeria de ArteRECONSTRUCCIÓN, la última exposición de Isaac Montoya y la primera individual en la galería Aural, es una revisión de los restos de nuestra cultura recuperados en las nuevas edificaciones que hemos levantado, no tanto para protegernos de nuestros miedos como para seguir haciéndolos presentes, una y otra vez? El 12 de enero de 2010 un terremoto de 7,0 grados sacudió Haití provocando una de las catástrofes humanitarias más grandes de la Historia. Haití es además uno de los países más pobres del mundo. El terremoto revolvía lo que ya estaba desestructurado. Simultáneamente el mundo occidental vivía una de las crisis económicas más graves de su historia contemporánea. Países que fueron referencia de un modelo de bienestar y de desarrollo tienen que ser ahora ?rescatados? in extremis de una debacle. Europa y Estados Unidos se miran a sí mismos para tratar de paliar el hundimiento de un sistema. ¿Cómo poder sensibilizarse ante la tragedia humana cuando se ha perdido la estabilidad? Aunque haya una infinita diferencia entre las dos situaciones, sea una física y aterradora, y otra ?conceptual? y humillante, cada sociedad la vive con la intensidad que tiene el ver como se desmorona su mundo. Además los acontecimientos se reciben simultáneamente a través de los medios de comunicación sumándose así su poder catártico. Como si el terremoto estuviera haciendo literal la situación convulsa que todos estamos viviendo. Sobre esta realidad surge la obra de Isaac Montoya Terremoto global que es el inicio de un nuevo proyecto, una vez más asociado a los acontecimientos vividos recientemente. El mundo ve como todos sus valores se mezclan. Nada estará ya en su sitio y todo lo pequeño formará parte de todo lo grande, como si el caos fuera capaz de realizar un reparto equitativo con su poder homogeneizador. Pero si algo caracteriza al ser humano es su avidez por reconstruir lo destruido. Tras el terremoto global, como metáfora de un mundo googlelizado, que esparce con violencia los referentes de nuestra memoria colectiva, surge la reconstrucción. Con los despojos, se reconstruye un mundo diferente, lleno de nuevos significados pero con las tensiones familiares de siempre. En un escenario que combina la virtualidad con los espacios reales, sin saber dónde empieza una y dónde acaban los otros, que alterna la tragedia con la parodia, el dolor con la ironía y el progreso con la especulación, el desastre ya es parte del proceso y es una forma implacable de organización. La realidad se impone con su formidable presencia física pero sin dejar de lado su versión aparente. Y revive un mundo si cabe con mayor significado, que parece más de todos. Pero sin dejar que los conflictos que nos desunen desaparezcan, como si en ellos estuvieran las casi invisible fibras de nuestra identidad. Texto de Daniel Casagrande
Ver más
Este fin de semana el equipo de Símbolo ha tenido el placer de asistir a la nueva exposición de la Galería Aural, titulada ?Parte de ti?; obra de la fotógrafa María Zarazúa, una madrileña fascinada con el mundo de los gemelos, y con la idea de pensar que existen personas iguales en apariencia, pero que en realidad su carácter es totalmente distinto. http://blog.simbolo-ic.es/
Ver más
María Zarazúa demonstrates this proposal in her exhibition in the Aural art gallery under the title: PARTE DE TÍ/PART OF YOU which includes twenty photographs and one video. PARTE DE TÍ/PART OF YOU stems from the identical twin obsession. María Zarazúa explains: ?The idea of the existence of another human being apparently identical to ourselves being somewhere out there, has always seemed fascinating to us. This is the main reason why I present these series of photographs as a confrontation between harmony and dissonance inviting each viewer to experience the images.? The artist postulates in her project what she calls: ?the limits of identity among the people who have an intimate knowledge of one another?. It is interesting how she uses the concept of identity to refer not exclusively to the similarity but also to one´s desire to be different and therefore to identify features that portray one´s own personality. The clash of these ideas, apparently not shown in the images, gives rise to an uncomfortable feeling for the viewers. Alejandro Castellote goes on to explain that María Zarazúa presents her collection of portraits as diptyches which preserves the dual character of her subjects. ?The left side is a typological register framed in a rigorous American device which transforms the characters into modern caryatid. In these images, the severe postures evoke nineteenth-century studio portraits, though the typical background scenery of that time with echos of the Versailles gardens has been replaced by a contemporary background of ordinary places. The clothing chosen by María Zarazúa for her characters adds in subtle way to this mundane setting. In some instances, the mimicry between the wall covering, the drawings and the colours of the clothes results in a final image approaching abstract pop, reducing reality to a two-dimensional plane. However, the penetrating choreography displayed in each shot ?a sort of taxonomical catalogue- seems to invite the viewers to distinguish between similarities and differences shown in the portraits.? María Zarazúa demonstrates this proposal in her exhibition in the Aural art gallery under the title: PARTE DE TÍ/PART OF YOU which includes twenty photographs and one video. PARTE DE TÍ/PART OF YOU stems from the identical twin obsession. María Zarazúa explains: ?The idea of the existence of another human being apparently identical to ourselves being somewhere out there, has always seemed fascinating to us. This is the main reason why I present these series of photographs as a confrontation between harmony and dissonance inviting each viewer to experience the images.? The artist postulates in her project what she calls: ?the limits of identity among the people who have an intimate knowledge of one another?. It is interesting how she uses the concept of identity to refer not exclusively to the similarity but also to one´s desire to be different and therefore to identify features that portray one´s own personality. The clash of these ideas, apparently not shown in the images, gives rise to an uncomfortable feeling for the viewers. Alejandro Castellote goes on to explain that María Zarazúa presents her collection of portraits as diptyches which preserves the dual character of her subjects. ?The left side is a typological register framed in a rigorous American device which transforms the characters into modern caryatid. In these images, the severe postures evoke nineteenth-century studio portraits, though the typical background scenery of that time with echos of the Versailles gardens has been replaced by a contemporary background of ordinary places. The clothing chosen by María Zarazúa for her characters adds in subtle way to this mundane setting. In some instances, the mimicry between the wall covering, the drawings and the colours of the clothes results in a final image approaching abstract pop, reducing reality to a two-dimensional plane. However, the penetrating choreography displayed in each shot ?a sort of taxonomical catalogue- seems to invite the viewers to distinguish between similarities and differences shown in the portraits.? María Zarazúa demonstrates this proposal in her exhibition in the Aural art gallery under the title: PARTE DE TÍ/PART OF YOU which includes twenty photographs and one video. PARTE DE TÍ/PART OF YOU stems from the identical twin obsession. María Zarazúa explains: ?The idea of the existence of another human being apparently identical to ourselves being somewhere out there, has always seemed fascinating to us. This is the main reason why I present these series of photographs as a confrontation between harmony and dissonance inviting each viewer to experience the images.? The artist postulates in her project what she calls: ?the limits of identity among the people who have an intimate knowledge of one another?. It is interesting how she uses the concept of identity to refer not exclusively to the similarity but also to one´s desire to be different and therefore to identify features that portray one´s own personality. The clash of these ideas, apparently not shown in the images, gives rise to an uncomfortable feeling for the viewers. Alejandro Castellote goes on to explain that María Zarazúa presents her collection of portraits as diptyches which preserves the dual character of her subjects. ?The left side is a typological register framed in a rigorous American device which transforms the characters into modern caryatid. In these images, the severe postures evoke nineteenth-century studio portraits, though the typical background scenery of that time with echos of the Versailles gardens has been replaced by a contemporary background of ordinary places. The clothing chosen by María Zarazúa for her characters adds in subtle way to this mundane setting. In some instances, the mimicry between the wall covering, the drawings and the colours of the clothes results in a final image approaching abstract pop, reducing reality to a two-dimensional plane. However, the penetrating choreography displayed in each shot ?a sort of taxonomical catalogue- seems to invite the viewers to distinguish between similarities and differences shown in the portraits.?
Chema Cobo
Marc Chagall
Chema Madoz
