ECOLOGICAL
Ecological
This exhibition brings together works by artists from different geographies, but from the same planet. Creators who are affected by the context, and who, from their daily work, reflect on it. In this exhibition, we will admire different ways of approaching an identical concern: the environment.
Nature is present in the political discourse, and the awareness that there is a problem that we must address, both collectively and individually, has never been higher. Other debates, such as overcoming the gaze and the Anthropocene attitude, are also at stake.
"Ecological" allows us to approach these and other topics in a kaleidoscopic way. Entering from the micro, moving away from the macro, from the denunciation or from the metaphorical evocation, these eleven artists elaborate multidisciplinary pieces that evoke a single issue starting from foreign premises: man's relationship with the natural world.
In the case of Rubén Grau, the link with nature is poetic, and arises from the connection between man and the ecosystem. He launches a critique of the aforementioned Anthropocene posture, making use of sculptural pieces made with recycled materials. Angélica Teuta also reuses remains of previous works of her authorship, to configure with them four pieces that speak of temporality and the deforestation of forests: fire destroys the livelihood that marks the rhythm of the biological clock. Sara Herrera returns to the primitive, the symbolic and the ritual, and she does so with a mixed technique that ends with an image of great beauty, covered in gold, restoring the sacred value of the fauna and flora. Víctor Garcés presents a video about the exploitation of nature, the extractivism that is besieging the countryside, both the earthly and the underwater. Perla Krauze proposes an installation based on the Mexican native ecosystem of Pedregal, a place that she knows first-hand: her installation allows to know that space in a multiple and comprehensive way. Emilia Sandoval composes collages, some based on beehive systems, and others based on free evocation. The natural design inspires the artificial, and vice versa, as evidenced by the photographs of Julio Barrita, who, in addition and not without irony -and an appointment to the art world itself-, generates a reflection from the elaboration of a pigment generated by waste from a landfill. Criticism and denunciation are the basis of Avelino Sala's works: still life pieces presented as vertical gardens in which plants reproduce the logos of pharmaceutical companies that profit from the transgenic business. An acid game that operates with the tools of nature itself in danger. From Mayan Guatemala, Manuel Chavajay uses a video / performance and a photography exercise, from Lake Atitlán in Panajachel, spotlights concepts that are united with the ancestral, and with the sustainable practice of fishing, adding the third dimension in sculptures made on pieces found in the same lake where the artificial merges with the origins and traditions of its people.
Santiago Vélez follows that allegorical line with his photographs in which blank spaces appear, the sleeping beauties, which highlight the blind spot of the cartographies. Camile Kachani proposes conceptual sculptures that explore the natural limit with the artificial.
Aesthetics and ethics go hand in hand in this approach that aims to make us think, from the point of view, about ecology.
This exhibition brings together works by artists from different geographies, but from the same planet. Creators who are affected by the context, and who, from their daily work, reflect on it. In this exhibition, we will admire different ways of approaching an identical concern: the environment.
Nature is present in the political discourse, and the awareness that there is a problem that we must address, both collectively and individually, has never been higher. Other debates, such as overcoming the gaze and the Anthropocene attitude, are also at stake.
"Ecological" allows us to approach these and other topics in a kaleidoscopic way. Entering from the micro, moving away from the macro, from the denunciation or from the metaphorical evocation, these eleven artists elaborate multidisciplinary pieces that evoke a single issue starting from foreign premises: man's relationship with the natural world.
In the case of Rubén Grau, the link with nature is poetic, and arises from the connection between man and the ecosystem. He launches a critique of the aforementioned Anthropocene posture, making use of sculptural pieces made with recycled materials. Angélica Teuta also reuses remains of previous works of her authorship, to configure with them four pieces that speak of temporality and the deforestation of forests: fire destroys the livelihood that marks the rhythm of the biological clock. Sara Herrera returns to the primitive, the symbolic and the ritual, and she does so with a mixed technique that ends with an image of great beauty, covered in gold, restoring the sacred value of the fauna and flora. Víctor Garcés presents a video about the exploitation of nature, the extractivism that is besieging the countryside, both the earthly and the underwater. Perla Krauze proposes an installation based on the Mexican native ecosystem of Pedregal, a place that she knows first-hand: her installation allows to know that space in a multiple and comprehensive way. Emilia Sandoval composes collages, some based on beehive systems, and others based on free evocation. The natural design inspires the artificial, and vice versa, as evidenced by the photographs of Julio Barrita, who, in addition and not without irony -and an appointment to the art world itself-, generates a reflection from the elaboration of a pigment generated by waste from a landfill. Criticism and denunciation are the basis of Avelino Sala's works: still life pieces presented as vertical gardens in which plants reproduce the logos of pharmaceutical companies that profit from the transgenic business. An acid game that operates with the tools of nature itself in danger. From Mayan Guatemala, Manuel Chavajay uses a video / performance and a photography exercise, from Lake Atitlán in Panajachel, spotlights concepts that are united with the ancestral, and with the sustainable practice of fishing, adding the third dimension in sculptures made on pieces found in the same lake where the artificial merges with the origins and traditions of its people.
Santiago Vélez follows that allegorical line with his photographs in which blank spaces appear, the sleeping beauties, which highlight the blind spot of the cartographies. Camile Kachani proposes conceptual sculptures that explore the natural limit with the artificial.
Aesthetics and ethics go hand in hand in this approach that aims to make us think, from the point of view, about ecology.
