The XIV Biennial dialogues with the notion of plurality



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The notion of play it's from Interaction is present in works such as 3 Sections, by the American artist Marcius Galán, a white cubicle that looks divided, crossed at the top and wide by three sheets of green glass. The curious viewer will discover that the plates are an optical illusion, but still hesitate and fear to collide with inexistent glasses.

O to work of artist, whose work plays with the fragile limits of non-existence, non-functioning, non-equilibrium, are part of the "plural empires", a special Cisneros Fontanals Foundation for the Arts Collection (CIFO) for the XIV edition of Biennial of Cuenca, inaugurated last Friday night in the capital of Azuay. "Plural empires" occupy the headquarters of the City Museum (Central School), even with facilities exposed in the bone room of that repository.

O plurality, the notion of art as an experiential experience capable of including, which encourages diversity and coexistence, is critically raised in the title of a special exposition where the plural becomes empire – at least in a verbal form – and in contrast to the form in which the concept appears in the general title of the official sample.

Living structures, art as plural experience & # 39; is the title of the current edition, which will be open until February 3, 2019 in 25 spaces in the city of São Paulo. Bowl, with the participation of 46 proposals -53 artists from 17 countries – in the official sample. O event also has two special exhibitions, four parallel and satellite initiatives by independent managers who set up their own exhibitions.

The idea of ​​contact and the generation of interpersonal bonds play a preponderant role in this edition, according to the curator of the show, the Venezuelan Jesus Fuenmayor. O Curatorial Conceptuation of the Biennial arose, above all, as a reference to the work & # 39; Living structures & # 39; (1969) by Brazilian artist Lygia Clark (1920-1988), which is part of the official show of the event.

In the 70's, Brazilian artist renounces sculpture and painting, in what has been called abandoning the art of Lygia Clark, and begins to produce its "propositions," a series of objects and installations made with simple materials. In "Living Structures", which is exhibited at the Cuenca Biennial House, he used elastic to weave structures – a web of rubber elastics – that changed from the game of the public.

People discover another way that can be related through art, because in the play there is always an invitation to create different relationships, says the curator of Biennial, which explains that he wanted to depart from the assumption of art as a vehicle of admiration – an implanted and replicated notion based on the European model of the museum – and to consider art as a relationship and an experiential experience – the answer of the Latin American cultural context.

The experiential is key in terms of plurality, says Fuenmayor. "In Latin America we learn to live art in our own flesh, as a different response to European tradition, because continuing to change the standards of beauty does not get us anywhere. "And in the opening week of the contest, acting in public spaces became relevant, involving the public with artistic actions.

The Ecuadorian Santiago Reyes, who acted in five presentations with different pieces, chained three performances in the House of Culture Theater – he danced to the sound of his heart, established a dialogue with his shadow and ended up in a cornice on the facade of the building where a sound was projected. video with the movement of his eyes.

Fuenmayor points out that with the title of the special exhibition, which also had its curatorship, I wanted to draw attention to the fact that "the plural at any cost can turn against" society itself. "Diversity in itself is no guarantee that art produces meaningful experience," he adds.

Quality is subjective, the important thing is that the contemporary art produce meaningful experience for people, that the public finds meaning, even if they do not like it. "

Cristóbal Zapata, executive director of Biennial Municipal Foundation of Cuenca, explains that most of the work of the official sample comes from the artists' dialogue with the city and from the dialogue with the people: neighbors, carpenters, potters, workers, academics and researchers who collaborated in the production or installation. "The city is not only the container and support of artistic projects, but the great theme and content or at least the secret agent of the contest," he said.

The Spanish Patricia Dauder, who works on the theme of vulnerability and the fragility from his own experiences, he produced 30 pieces of black pottery with a local craftsman, which are exhibited at the Museum of Modern Art.

While on the Museum of Concepts the artist will display the ceramic pieces she brought from her workshop in Spain, Los Palos del Tiempo, which she left buried for several weeks in the museum's own garden.

The plural includes the look of the other. And this is also the case of the proposal of Colombian Leyla Cárdenas, who works from a reality of the city, Humanity's cultural heritage. Because the owners of certain estates can not demolish their properties by law and in many cases do not obtain state resources to restore them, "people have discovered methods for homes that are in very bad condition to deteriorate more quickly," explain of curatorship. One method is to apply water to the walls, systematically, until they collapse on their own.

Cárdenas took a picture of a facade wall bare, about to fall, with supports that support it. The photograph was printed on silk in a large format four meters long and then the vertical silk strands were removed, a work of months, so that when only horizontal strands are left the image becomes diluted and frightening. And it turns out that it is the silk – the ghost of the house – that holds the carrier. The part is displayed in the Municipal Museum of Modern Art, which houses the works of 20 artists.

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