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NIVEL 1
07 OCTOBER 2004 –10 NOVEMBER 2004
Painting Identities:
Clare woods, Suling Wang, Katharina Grosse, Alejandra Icaza, María Gimeno, Ingrid Calame and Heide Trepanier
Painting Identities" muestra la obra de siete jóvenes pero internacionalmente reconocidas pintoras quienes desde el comienzo de sus carreras llevan interrogando y cuestionando los límites del lenguaje pictórico. Aunque tengan diferentes aproximaciones hacia la pintura, todas tienen en común un profundo deseo de renovar este lenguaje.
El proceso pictórico, el contenido y la superficie del cuadro (ésta última como fundamental transmisora de significado) son elementos extremadamente cuidados por todas ellas. Este hecho hace que su trabajo tenga una inextricable cualidad alegórica: lo que sucede en la superficie del cuadro es símbolo de algo que nace y evoluciona en la búsqueda creativa fuera del cuadro; algo que es muy personal y plenamente vivido por el artista.
A pesar de que casi todo el trabajo de las artistas gire en una aparente abstracción y un mundo no referencial, éste nace de historias que operan en lo cotidiano. De este modo, las formas abstractas se pueden entender como un intento de universalizar lo vivido, de memorizarlo en un idioma fuera ya de lo fenomenológico aunque parta de esto último. Las manchas no nacen del gesto, o por lo menos no es el protagonista, sino que forman parte del desarrollo creativo.
"Painting Identities" shows the works of seven young but internationally recognized painters who since the beginning of their careers lead interrogating and questioning the limits of pictorial language. Although they have different approaches to painting, they all have in common a deep desire to renew this language. Its creation was concentrated and developed almost exclusively in this language, and exploiting the full range of facilities offered by the painting.
The pictorial process, content and the surface of the table (the latter as key transmitters of meaning) are extremely care for them all. This fact makes their work is an inextricable allegorical quality: what happens on the surface of the table is a symbol of something that is born and evolves in finding creative outside the box, something that is very personal and fully lived by the artist. Although almost all the work of artists turn in an apparent abstraction and a non-referential world, it stems from stories that operate in the everyday. Thus, the abstract forms can be understood as an attempt to universalize it lived, to memorize it in a language outside of the phenomenological and although part of this. The spots are not born of the gesture, or at least is not the protagonist, but are part of the creative development in its broadest form, rather than having the quality of accidents are part of the act of painting in its ultimate expression: desire, process, the final result.
El proceso pictórico, el contenido y la superficie del cuadro (ésta última como fundamental transmisora de significado) son elementos extremadamente cuidados por todas ellas. Este hecho hace que su trabajo tenga una inextricable cualidad alegórica: lo que sucede en la superficie del cuadro es símbolo de algo que nace y evoluciona en la búsqueda creativa fuera del cuadro; algo que es muy personal y plenamente vivido por el artista.
A pesar de que casi todo el trabajo de las artistas gire en una aparente abstracción y un mundo no referencial, éste nace de historias que operan en lo cotidiano. De este modo, las formas abstractas se pueden entender como un intento de universalizar lo vivido, de memorizarlo en un idioma fuera ya de lo fenomenológico aunque parta de esto último. Las manchas no nacen del gesto, o por lo menos no es el protagonista, sino que forman parte del desarrollo creativo.
"Painting Identities" shows the works of seven young but internationally recognized painters who since the beginning of their careers lead interrogating and questioning the limits of pictorial language. Although they have different approaches to painting, they all have in common a deep desire to renew this language. Its creation was concentrated and developed almost exclusively in this language, and exploiting the full range of facilities offered by the painting.
The pictorial process, content and the surface of the table (the latter as key transmitters of meaning) are extremely care for them all. This fact makes their work is an inextricable allegorical quality: what happens on the surface of the table is a symbol of something that is born and evolves in finding creative outside the box, something that is very personal and fully lived by the artist. Although almost all the work of artists turn in an apparent abstraction and a non-referential world, it stems from stories that operate in the everyday. Thus, the abstract forms can be understood as an attempt to universalize it lived, to memorize it in a language outside of the phenomenological and although part of this. The spots are not born of the gesture, or at least is not the protagonist, but are part of the creative development in its broadest form, rather than having the quality of accidents are part of the act of painting in its ultimate expression: desire, process, the final result.