2023-05-26 20:34:23
There is a possible tour in the PAyS Hall of the Parque de la Memoria, located on the Costanera, which connects with a certain discursive poetics where, using a well-thought-out exhibition design, installations, projections and individual works bring out some signifiers where the personal is inscribed. in the collective Are two connected exhibits for some topics that have the protagonist Enrique Ramirez (1970) con the impossible landscapeexhibition curated by Florencia Battitiand a display of two rooms where Mariana Lopez (1981) y Paula Massarutti (1976), present Natural History, curated by Jimena Ferreiro.
An artist born in Chile, living between Paris and Santiago since 2010, Ramírez takes the classic theme of the landscape to characterize it as impossible and enable a series of operations that weave memory, absence, pain, loss and distance with a few touches of subtle voices and sounds that surround the viewer creating an austere climate. Using the materiality of water, the sound contained in poetry, objects and short films, the artist finds the possibility of transgressing the very spatial and topographic dimensions of the landscape to conceive it as a geopoetic space. Working remotely with the curator Battiti and then briefly in Buenos Aires, they were choosing work with the purpose of remember two regional events in the year in which the 50 years of the Military Coup that overthrew the government of Salvador Allende in Chileand the 40 years of democratic recovery in Argentina. This will not be the only exhibition that celebrates such an important event in the life of our country, towards the end of the year Ana Longoni and Nicolás Cuello will evoke in this same room the outbreak of 2000/2001, which also marked our civil life with fire.
“America under water”, 2018. Terracotta, demineralized water. 5 x 43 x 33cm, by Enrique Ramírez.
The Ramírez exhibition begins with a large installation where the elements/signs so present in his work are installed as presence: the canoes, the water and, far from the ground, a navigation vane in the shape of a flag and a neon with the graphic shape of a boat that is barely perceived as a distant light signal. Are two rowing canoes located on long and narrow pools that rest on the floor and stand out framed between taupe gray walls. At the same time that they show their history of footprints on their bellies, they are closed in their ability to navigate and obscure the water contained in the support with their corporeality. Immobile they transmit that anomaly as a failure to be interpreted. emit a sonorous beat what are heartbeatse Cecilia de Vicenti, the daughter of Azucena Villaflorone of the founders of Mothers of Plaza de Mayowith whom Ramírez maintains a friendly relationship who told him the singular way in which he found his mother’s body that had returned to the sea.
The water of the seas understood as place of wounded memory, as a connector, articulator of cultures, linking diversities that both recalls the past and speaks of the present of deceased migrants in the nearby Mediterranean where he currently resides. At the beginning he studied cinema in Chile, something that is clearly perceived when he enters the film universe set in two dark rooms. High quality productions where the game of hybridization of languages: cinema, installation, photography and poetry are intertwined with some powerful images of great visual impact.
Cruz Mar del Plata, 2016. Photography printed on paper. 41 x 50cm, Series of 10 photos. Enrique Ramirez
In Breezea character that drips water like a castaway returned to the mainland, is followed by a camera moving at a steady pace towards the Casa de la Moneda, seat of the Chilean government and the scene of the bloody overthrow of 1973. While phrases are heard that accompany him on the way, he enters through the gate and is invisible in front of the guards. Without stopping crosses the inner courtyard to go out into the open where alone and with his back to the camera, the rain falls on him, in a scene that, when he opens the painting, shows the fictional device of the rain produced on film by two hydrant trucks.
In migratory gardens of 2021 the central protagonist is a plant that moves contained in a sack that wraps its roots. First it is a young woman in a boat, then a man clings to her like a life preserver to let himself be carried away by the watery current and finally an older man carries her across a bare field on her back. The figure of the trip, of the displacements conserving only the valuable so recurring in the journeys of the migrants together with the precariousness of the present is portrayed in a series of photographs: Calais of 2009, where he reproduces the habitats built with collected remains, which try to create a space of privacy and moderate protection.
“Immeasurable”, 2018/2023. Thirteen aluminum bottles, the work of Paula Massarutti.
massacre diorama
In Natural Historyan exhibition that exhibits works from different eras, Mariana Lopez and Paula Massarutti, both are linked to the city of La Plata and as artist researchers they work around institutions with a critical sense. the curator Jimena Ferreiro She comments that both work reaching agreements with groups that come to collaborate with them in their work. so the book museum n addresses de López arises in 2016 from a research grant that allows him to access a large archive that he recovers in the book, adding different actions developed within the Museum of Natural Sciences of La Plata. It collects protocols for classifying the remains of chiefs and native ethnic groups with descriptions that indicate character and other information regarding the deceased, but also a letter of repudiation for the attack once morest three students from the Faculty of Natural Sciences in which two of them died, dated in July 1975 when La Plata was a field of growing violence. In two showcases, Mariana plays with a constructive fiction that characterizes her, using only canvas and paint, she creates doubles of recognizable objects in three dimensions that are presented without concealing their production and fragility.
Paula Massarutti has explored the relations between art and science through two systems: the graphic that allows him to unravel parts of a connection in colorful pieces exhibited with the presentation system of a museum, while in his videos he collects stories from researchers and active professors of the institutions, who undress with words, gestures, their experiences, summoned to rethink in critical terms the proposals that try to update practices within museums as a democratic exercise. A great installation of metal bottles that were subjected to the materials resistance cabinetbecome a metaphor for the action and reaction of the metal that leaves cracks and various displacements in a perfectly organized row on a wall of the room.
Until the beginning of July with free admission, in a space where the strength of the context of memory combines very well with what is exhibited in the rooms.
The impossible landscape – Enrique Ramírez
Natural History – Mariana Lopez and Paula Massarutti
Place: PAyS Room, Parque de la Memoria, Av. Costanera Rafael Obligado 6745.
Time: Mon to Sunday from 10 a.m. to 6 p.m.
Date: until July 16
Entry: free.
1685135546
#poetic #remains #democratic #exercise
