Ideas about play and from Interaction present in works such as 3 Parts, by American artists Marcius Galán, a white chamber that appears to be divided, crossed at the top and width by three sheets of green glass. The curious audience will find that the plate is an optical illusion, but still hesitant and frightened to collide with glasses that don't exist.
The work from artist, whose work plays with the fragile boundaries of non-existence, non-functioning, non-equilibrium, is part of 'Empires of the plural', special performances of Cisneros Fontanals Art Foundation Collection (CIFO) for edition XIV from Biennial Cuenca, was inaugurated last Friday in the capital Azuay. 'Empires of the plural & # 39; occupying the headquarters of the Museum of the City (Central School), even with facilities on display in the bone space of the repository.
The plurality, the idea of art as an experience that is able to incorporate, which promotes diversity and coexistence, is critically resurrected in the title of special exhibitions in which plural become empires – at least in long-winded form, and vice versa with positive forms in which the concept appears in general titles from official samples.
& # 39; Structure of life, art as a plural experience & # 39; is the current edition's title, which will remain open until February 3, 2019 in 25 city spaces Basin, with participation 46 proposals -53 artists from 17 countries – in official samples. The event also has two special exhibitions, four parallel and satellite initiatives from independent managers who put up their own exhibitions.
The idea of contact and the generation of interpersonal bonds play a greater role in this edition, according to the event curator, Venezuela Fuenmayor Venezuela. The Curatorial conceptualization from the Biennale appears, above all, as a reference for the section & # 39; Structure of Life & # 39; (1969), by Brazilian artist Lygia Clark (1920-1988), which was part of the event's official exhibition.
In the 70s, Brazilian artist he left sculptures and paintings, in what is called Lygia Clark's abandonment of art, and began to produce "propositions" it is, a series of objects and installations made with simple materials. In & # 39; Estructuras vivas & # 39 ;, which was exhibited at the Casa de la Bienal de Cuenca, he used elastic link to weave structures – tied rubber bands – that change from the spectator's play.
People find other ways that can be linked through art, because they are deep play there is always an invitation to create a different relationship, the curator said Biennial, who explained that he wanted to move away from the assumption of art as a vehicle of admiration – ideas that were planted and replicated based on the European model of the museum – and considered art as a relationship and experience of experience – responses from the context of Latin American culture -.
Experience is key in terms of plurality, said Fuenmayor. "In Latin America we have learned to live in our own flesh, as a different response to European tradition, because to keep changing the pattern of beauty does not take us anywhere ". And in the first week of the contest, performances in public spaces became relevant, involving the public with artistic action.
The Ecuadorian Santiago Reyes, who starred in five presentations with different pieces, was chained to three show at the Teatro de la Casa de la Cultura – he dances with the sound of his heart, forming a dialogue with his shadow and ending in a cornice on the facade of the building where a sound is projected. video with the movement of his eyes.
Fuenmayor shows that with the special exhibition title, which also has curator, wanting to draw attention to the fact that "plural at any cost can turn against" the community itself. "Diversity itself is not a guarantee that art produces a significant experience," he added.
Quality is subjective, what is important is works contemporary art produces a meaningful experience for people, that the public finds common sense, even if they don't like that feeling. "
Cristóbal Zapata, executive director of Cuenca Biennial Municipal Foundation, explaining that most of the work from the official sample arose from artists' dialogue with the city and dialogue with people: neighbors, cabinet makers, pottery, workers, academics and researchers, who collaborated in realizing the works, in terms of production or installation. "This city is not only a place and support for artistic projects, but also great themes and content or, at least, secret agents of the contest," he said.
The Spanish Patricia Dauder, who works on the theme vulnerability and fragility from his own experience, he produced 30 black ceramics with a local craftsman, which was exhibited at the Museum of Modern Art.
Whereas at Concept Museum the artist will show off the ceramic pieces he brought from his workshop in Spain, Los Palos del Tiempo, which he left for several weeks in the museum park itself.
The plural includes views from others. And that is also the case for the proposal of Leyla Cárdenas Colombia, which works from the reality of the city, Cultural Heritage of Humanity. Because certain inheritance homeowners cannot destroy their property by law and, in many cases, do not get state resources to restore it, "people have found methods so that homes in very bad conditions deteriorate faster", explained the curator. One method is to apply water to the wall, systematically, until they collapse on their own.
Cárdenas took a picture a facade the naked wall, almost fell, with the struts supporting it. The photo was printed on silk in a large four-meter long format and then released by vertical silk thread, a work for months, so that when only horizontal threads remained the image became runny and frightening. And it turns out it is silk – ghost house – who holds a prop. The snippet is displayed in City Museum of Modern Art, which houses the work of 20 artists.