Claudio Perna, coincident and contemporary, is the name of the exhibition that from Room 8 of the Museum of Contemporary Art of Caracas (Maccar), in Parque Central, describes the enormous importance that this creator had in several generations of Venezuelan artists who They have immersed themselves in the experimental, the conceptual and the avant-garde.
Perna (1938-1997) had a close relationship with the museum, since, in December 1975, he exhibited there the multimedia perceptive action entitled Films, explorations and infiltrations, which is nothing but the result of a deep investigation and approach to new languages. visual and sensory, creating a contemporary shamanic ritual atmosphere, performance classified as an act of body art.
He was a pioneer who proposed, before many others, the use of nationalist concepts, body work, and immersion.
That and more can be seen in the exhibition that opened to the public on June 29, which includes a series of special activities, every Thursday, such as talks, exhibitions, and guided tours, until August 22.
Flérida Alcalá, who currently chairs the Claudio Perna Foundation, pointed out that it has been very important to historically recreate what happened 49 years and 8 months ago. First of all, because it was the first performance that was presented in a Venezuelan museum and secondly because the Maccar is turning 50 years old and to commemorate it, it rummaged through its vaults to extract some of its most delicate treasures, as witnessed by the exhibition Faith of Life. , which is exhibited in rooms 4, 5, 6 and 7 of the Caracas art gallery.
“We are talking about perhaps the most important collection of contemporary art in Latin America. So who is more contemporary than Claudio? Nobody. Who did a performative action 50 years ago? Claudius. How are we going to celebrate it? Well, we are going to reissue what happened that time,” Flérida pointed out.
Robert Darío Cárdenas, director of Maccar, agrees that Perna’s presence at the museum for this exhibition was inevitable. “For this we have had the curatorship of the Claudio Perna Foundation team, to recreate that memorable intervention in the spaces of our museum.”
Luis Emeterio González, an artist who collaborated and worked at his side for years, assured that Claudio’s contemporaneity also underlies the “recursiveness” he was as an art maker. He stated that Perna used unconventional elements and tools such as Polaroid cameras, the photocopy machine, slides, which he used to show his artistic perspective and achieve transgressive and novel creative objectives.
The exhibition contains photographs, painted images, super 8 film projections such as his memorable The Thing from 1972, still photos from the film 1,2,3, where he pays tribute to those who were a source of inspiration, such as the American video art artist and cellist Charlotte Moorman, who spent some time in the country with Perna, and the cultural journalist Margarita D’ Amico, who strongly promoted the artist’s work and with whom the country’s art history, in Flérida’s words, has a great connection. debt.
Convergent
The Claudio Perna Foundation was created in 1998, a year after the artist’s death, with the purpose of preserving and disseminating his legacy, a very complex work due to the variety and extensiveness of its content.
Flérida Alcalá, its president, assures that the collection is difficult to catalog because it is made up of videos, photographs, slides, writings, books, documents, and it is a very large work in which they have been working for 25 years, so they have barely managed to cover 40% of documentation and archive.
This speaks of the master’s prolixity, which makes Perna a controversial creator even beyond life.
His work, his contributions and his thoughts are still the subject of studies in the country and outside our borders, where he is given a very high level as a pioneer of conceptualism, by exercising what some call “convergent contemporaneity”, in which emotions converged. and academic knowledge.
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2024-07-30 23:40:04
