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“Omisiones en la Memoria Colectiva, (Variación 01)”, Fernando Poludura, Clavo 2021

Omisiones en la memoria Colectiva, Variación 01

Fernando Polidura

Fichas reproducidas en un monitor digital a modo de video, que presentan dieciocho personalidades de relevancia histórica y actual, en donde la piedra clave es un dato sencillo, pero irrebatible: La condición física/psicológica con la que cada unx de ellxs coexiste.

-Fernando Polidura.

SC: ¿Con qué propósito hiciste esta pieza?
FP: Esta pieza busca ser una herramienta detonadora de la aceptación de unx msmx como ser humano imperfecto, recordando que es más normal ser distinto a ser ¨normal”.

SC: ¿Qué te motivo a pensar en este tema?
FP: Vivir de primera mano situaciones humillantes las que unx es marginadx por tener una condición que lx deslinda de lo socialmente reconocido como “ordinario”.

SC: ¿Qué quieres despertar en el espectador?
FP: Originada para desvelar nociones fundamentales en presunciones que desmerecen la auténtica naturaleza humana, vigente desde antiguas civilizaciones como la griega y romana, hasta campañas publicitarias de la industria de la moda en la actualidad, el eterno anhelo por la perfección física impide hacer las paces con nosotrx mismxs y nuestro vehículo mortal.

Fernando Polidura

La práctica de Fernando Polidura (México, 1989), está interesada en desmantelar el cuerpo humano desde diversos emplazamientos marginales y vulnerables, ofreciendo así una visión más íntima y cruda que contraviene las convenciones y tradiciones de belleza e ideales del ser humano contemporáneo y que atañen a distintos ámbitos como la economía, la medicina, la fe y, por supuesto, el arte.

Al mismo tiempo, su ejercicio tiene como propósito configurar un “cuerpo”; es decir, un organismo independiente al artista mismo, al contexto donde se gesta y al espacio que habitará una vez concluida la obra, proporcionando de este modo un estado de orden y equilibrio, aunque temporal y precario, vulnerable.

Vive y trabaja en la ciudad de méxico. Realizó estudios de arquitectura (2008-2013) y durante ocho años se desempeñó en el desarrollo de proyectos en diferentes despachos emergentes y consolidados, al tiempo que profundizaba en conceptos como estructura, materialidad y exposición del proceso tanto en el dibujo y escultura.

Ha sido seleccionado para formar parte de la feria de arte independiente (fain, ciudad de méxico, 2020), del abierto mexicano de diseño (amd, ciudad de méxico, 2020), de la exhibición “otra casa” presentada por Casa Equis y Casa Lü, y de la muestra “expo 54” presentada y curada por Frontera 115. Durante finales de 2020 y comienzos 2021 realizó una residencia de producción en la iniciativa independiente un estudio sobre revolución (ussr, ciudad de méxico). Su obra forma parte de las colecciones David Ramírez Chávez y Archivo Colectivo.

 

SC: ¿Cuáles son tus principales influencias en tu práctica artística?
Margo glantz y Francisco González Crussí.

SC: Tu bebida preferida
FP: Cerveza clara

SC: Un lugar especial en el que colocarías una obra de arte ….
FP: Donde sea que se aprecie el motivo por encima de la propiedad retiniana de la pieza.

SC: Para tí el arte es…
FP:La levadura de distintas narrativas.

Fotos cortesía de Fernanda Segura

Video cortesía del artista.

“Circular. Instructions for Artistic Practice”, María Cerdá Acebrón, Fernanda Barreto, Paola de Anda, Karla Leyva.

Circular, Instructions for Artistic Practice.

María Cerdá Acebró, Paola de Anda,
Fernanda Barreto and Karla Leyva.

Circular is a proyect curated by Sybaris Collection that brings together four female artists to reflect on the role of instructions in artistic practices and to bring art closer to pleople through a direct and interactive experience.

In the midst of a period of lockdown in which social and physical distances have been the rule, art is able to overstep the new rules of everydaylife through imagination. In this context, Circular seeks to shift the aesthetic experience from conventional art exhibition venues to the intimate space, without compromisin the safety of those participants who join to this dynamic.

Thus, Paola de Anda (Mexico City, 1979), Fernanda Barreto (São Paulo, 1988), María Cerdá Acebrón (Madríd, 1984) and Karla Leyva (Monterrey, 1979) introduce four posters with instructions to carry out artistic acctions that can be performed anywher and anytime. The idea of the circular arises here as a metaphor for the the movement that the piece can have when passing through different spaces or people’s hands. It is also about the random activation that the instruction can provoke beyond each person interpretation. Even better, that circular movement appels to the transmission of multiple messages when performing the piece.

Instructions as part of artistic practice have a long history within art, from the Situationist International organization—whose members took randomness as starting point of their dérives—to the guidelines wrote by artists such as Roy Lichtestein, Carl Andre, Sol Lewitt, Carol Schneemann, Vito Acconci and Donald Judd, among others, as a way to explore the space. However, instrunctions dont’ tend to define our experience with art but to propose—paradoxical as it may seem—the free conection with art and aesthetic experiences. That is to say, the main idea is for you to have a free and spontaneous relationship with art without having an specific ending.

The posters presented in Circular, “Esporada”, “Medidores”, “Cómo pintar con Sol” and “Ritual de Belleza no. 1” also reveal the artistic interests of this artist. To Paola de Anda, for instance, takes natural elements as an excuse to explore everyday life; Fernanda Barreto uses the language to created different ways of comunications; María Cerdá propose alternative pictorical processes; and Karla Leyva reflects on the idea of the human being as an inorganic and organic being.

In short, while triggering unique experiences thrugh their instructions, the artists also seek to delve into the changes in the daily life, the language, the comunity and the body have had since reality has been defined by the lockdown.

Paola de Anda

Paola de Anda (Mexico City, 1979) is an artist and teacher. Through means such as installation, drawing, photography, sculpture and writing, she seeks to affectively reinterpret everyday life. Her work explores the political dimension that marks our experience over time, while asking how to explore and learn from our reality and experience with it.

De Anda has been part of single and group exhibition De Anda has been part of single and group exhibitions in Mexico, USA, Switzerland and Urugay, in spaces such as Parallel Oaxaca, Casa del Lago, Laboratorio Arte Alameda, Espac, Estudio Marte, Lulu, Centro Cultural de España, Museo del Chopo, Galería harto_espacio and Centro Nacional de las Artes, among others.

Fernanda Barreto

Fernanda Barreto (São Paulo, 1988) is artist, translator and cultural mediator, whose practice is focused on educational and pedagogical methods. Barreto’s work is based on an investigation about the forms, use and dynamics of languages within communication practices, collective enunciation and social structures.

María Cerdá Acebrón

María Cerdá Acebrón  (Madrid, 1984) is visual artist, researcher and teacher. One of the central points of her work pointed out to question of the hegemonic narratives of history. Cerdá thinks about her practice as critical device able to reformulate imaginaries and conventional narratives from the recent past.

Karla Leyva

Through a variety of supports – painting, installation, sculpture and photography – Karla Leyva works with materials that come from the cosmetic and wellness industry, such as face mask and makeup; as well as organic matter, and tools used in the field of photography, film and video, such así tripiés and stage lighting. In her pieces the plasticity and constant transformation are evident, establishing a paradox between our desires for permanence and the undisputed triumph of our corporeity.
Leyva was part of the SOMA Educational Program and is currently a member of the National System of Art Creators. She has exhibited her work in Colombia, Los Angeles, London, Paris and México City, where she currently lives.

What instructions do you follow when you make a piece of Art? An interview… The word “instruction” is used primarily to learn to use technological devices. But in literature and art it has also worked to carry out playful, even ironic, production and interpretation processes.

Where are the instructions more interesting: in the artist or in the viewer?

George Perec recognized that in writing Life Instructions for Use, he was based on a drawing by Saul Steinberg. Thus, words and images conspire to create a work of art. What is the relationship that you find in this piece of yours between articulated language and images?

What do you prefer: instructions for crying or for winding a watch? (The reference is Cortázar’s texts. I don’t know if it works). What instructions would you give your past SELF to be an artist?

Studio Visit with Fernanda Barreto.

Studio Visit María Cerdá Acebrón.

Studio Visit with Paola de Anda.

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