It was an art form that functioned as nonverbal communication between women and men. Marketou spent two weeks in Cartagena and on the Islas del Rosario meeting cumbia historians and musicians.
She interviewed and recorded long-retired singers and dancers who had been popular in their youth. We see them singing traditional songs before the camera, mostly from memory, indicating that these are oral traditions that had been handed down to them. As songs and performances unfold, the limitations of the body are highlighted and we see old age taking its toll on the artists.
The work also presents the social and political messages that cumbia carries, reflecting local traditions. The choreography that was created is based on observing the gestures of the staff of the Almirante Hotel, located on the beach in the posh modern section of Cartagena. The work captures standardized movements that the public itself sees—movements by porters, bell-boys, maids, and desk clerks that for the most part are international. The work transforms the prosaic routine of daily life in the poetic, even if it suggests how globalized the world has become.
Anestesia consists of the very different sounds of different kinds of bees recorded in different hemispheres, so the work, among other things, is about communication. Most importantly, it gets people to do something they normally do not do when hearing a bee in nature, which is to listen to and appreciate the quality of the sound.
Add to that the smell of honey exuded by the work, and suddenly people are forced to view bees quite differently and perhaps human communication as well, especially the way humans fail to communicate and work as a team.
An Interdisciplinary Study in Transnational Contexts
Today close to one million people earn a living directly or indirectly from arts and crafts production, including some , artisans, approximately 60 percent of whom are from rural and indigenous areas. Sixty-five percent of these artisans are women. Sus obras exploraron asimismo conceptos de estilo. En ya estaba trabajando con telas, haciendo obras de arte a partir de petos de caballos.
Como esas mantas bordadas se utilizaban en las corridas de toros para proteger a los caballos que montan los picadores, eran excepcionalmente fuertes y estaban tejidas con fibras de agave. Serrano, en todo caso, no se ha limitado a usar tejidos, sino que ha trabajado con una amplia gama de medios, incluyendo el vidrio y el video. Not only does the inclusion of craftrelated art acknowledge the importance of craft traditions in Colombia, but it also underscores the important impact that craft has had on contemporary art over the last sixty years.
As visitors walk along the seventyeight-meter-long main room of the Museo Naval, they will see a broad range of works executed in materials generally associated with craft, works that despite relating to the decorative arts nonetheless address issues that preoccupy the best artists working today: appropriation, originality, history, artifact display, displacement, nature, patriarchy, gender, and sexual orientation. They will see work by some of the artists who were responsible for pioneering the incorporation of craft traditions into contemporary art, artists such as Sheila Hicks, Betty Woodman, and Teresa Serrano.
Hicks, an American now living in Paris, began making sculpture out of fiber in the late s when living in Mexico, where she was influenced by pre-Columbian textiles. Her works also explored concepts of style. In contrast, Mexican artist Teresa Serrano makes craft-based works that are highly political. As early as , she was working in textile, making art out of embroidered horse blankets, petos. Since these blankets were used to protect the horses in bullfights, they were exceptionally strong and thus woven from fibers derived from the agave plant.
In other words, these textile sculptures had underlying themes of violence and gender. Serrano, however, has not restricted herself to textile and has worked in a broad range of mediums, including glass and video. Among the younger generation of artists working in crafts-related mediums is Jessica Rankin, an Australian working in. Le interesa particularmente el impacto de los seres humanos en el medio ambiente natural, y su arte es a menudo una forma de mapeo.
Cada vez que se instala la pieza, el dibujo es diferente, aunque el rastro de sus viajes sigue siendo el mismo. En la red de New York. She works in organdy, the sheerest and crispest of cottons, making embroidered paintings with decorative stitches. These stitches represent broken thoughts and words that no long sit in regimented lines across a page.
Irish artist Katie Holten also works in fabric, although she works in a broad range of mediums that she culls from the world at large. She is especially interested in the impact of humans on the natural environment, and her art is often a form of mapping.
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Each time the piece is installed the drawing is different, but the trace of the journeys remains the same. An interest in mathematical emergence and mapping is expressed in the web of Because of the handles surrounding the perimeter, it depicts a strange mechanical device. The twenty-five woven images depict fragments of photographs, engravings, oil paintings, maps, pamphlets, and book pages from various periods.
The images conjure up diverse worlds and eras, in effect recounting the history of trade in some of the most prized commodities that fueled the earliest. Uno de ellos es el indio L. Several other artists in the biennial besides Betty Woodman work in ceramics. Among these is Eduardo Sarabia from Guadalajara, Mexico, who works in ceramics, although with an entirely different look, premise, and goal. His tiles, vases, and boxes evoke seventeenth century Dutch Delftware, but most directly traditional blue-and-white Mexican ceramic designs, called talavera, brought to Mexico from Spain in the seventeenth century and readily found in Mexican homes as well as in tourist gift shops.
They always have a narrative that explores the undercurrent of violence found in Mexico today, especially due to the drug wars. It also explores smuggling as an entrepreneurial means of crossing borders.
Also working in ceramics tiles is Spanish artist Guillermo Paneque. The tiles are inspired by the traditional Andalusian azulejos, a tin-glazed ceramic tilework printed with letters and numbers. Commissioned by the biennial, the work was produced by local Cartagenian tile manufacturers, who made hundreds of tiles inscribed with headlines that Paneque culled from various newspapers.
- A Biblioteca.
- The Bed.
No further information is provided. The unconnected headlines are presented without chronology or narrative sequence, thus forcing the viewer to read the messages with a critical eye and employ the same skepticism that should be applied when reading the news.
Mention should also be made of two artists who work in marquetry, a technique of making designs or images out of flat, thin strips of different colored and shaped wood and associated with the decorative arts, namely furniture. One artist is L. Tallur, who is Indian.
Trisoglio, Francesco - Cristo en Los Padres de La Iglesia - Free Download PDF
In Graft , exhibited here, Tallur presents what at first looks like an enormous cross-section of a tree; upon close inspection,. Esta artista hace videos y performances. It is about destruction, the cutting down of a tree. Marquetry is also used by Allison E. Taylor, here represented by two works: Multiple Shots with Knife Slashes and Squatter Doorway , the latter a reaction to the subprime mortgage crisis. It represents a foreclosed home where squatters were living after the original owners had been forced out. All the patterning and colors of their electronic image are generated from Internet activity.
Trisoglio, Francesco - Cristo en Los Padres de La Iglesia
More specifically, tweets and the frequency and incidence of words transmitted over the net and in air traffic data are the shuttle that draws the colors and weaves the warp and weft. In a sense they capture the continuous flux of the exhibition itself and its integration into the very fabric, not only of the physical city but of the community itself. One of these works can be described as Radio Art, literally a radio broadcast, available to anyone with a radio and within broadcast distance.
With Radio Amazonas the biennial has reached back to the preColumbian era, conflating it with the present and raising issues about our understanding of past and present. The second siteless work is a magazine which will be distributed during the biennial. Titled Kalas and also a biennial commission, it is the work of Nuria Carrasco of Spain. The magazine is a pastiche of Caras, the bestselling Colombian lifestyle publication, which features local and international high society.
Kalas is how the word caras is pronounced in palenquero, the oral language of San Basilio de Palenque—a town in the foothills in the Cartagena region that is a mix of Portuguese, Castilian, and African and founded in the seventeenth century by runaway slaves. To this day it is rich in African culture, which has been handed down through the centuries. Carrasco spent weeks in Cartagena working with the African-Colombian community, and her magazine portrays Palenque traditions using the same format and layout as seen in Caras.
The Venice Biennale retained the concept that the art world would be represented by each of the developed nations and that art would be grouped by nationality, each country building its own pavilion. In the last fifty years, however, the terrain for biennial exhibitions has changed.
Instead of just a handful, there are today some three hundred. It is a global phenomenon that ensures the circulation of the discourse of the international art world, and it fulfills the political and economic needs of the host cities. In other words, today as much emphasis is placed on ideas and learning as it is on the commodification of art and the promotion of nationalism. And to an astonishing degree, the answer over the past three decades or so has been yes. Indeed, because Cartagenians do not have an extensive history of involvement in the international art world and thus do not have the same narrow vision of this global audience, they may very well be more open-minded then the usual art fair or.