A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
Selva - Mar - Río Kindi Llajtu - Jaime Sicilia
Territorios enmarcados en un contexto leído desde la interioridad, en ambos casos tanto Kindi Llajtu como Sicilia centran su reflexión en el paisaje, un paisaje habitado, vivido, soñado, una lectura que aborda el lugar, el símbolo, la emoción y el tiempo.
Kindi Llajtu trabaja a partir de la idea de acumulación y de una relectura del paisaje y su territorio en el Putumayo, tiempo y espacio confluyen en sus lienzos en los que surgen figuras extraídas de su propia experiencia en su entorno o simplemente son apariciones que plantean lecturas desde su cosmogonía, los elementos simbólicos aparecen entre capa y capa en sus cuadros y la propia pintura oculta o desvanece la intencionalidad de sus dibujos, por detrás o por delante ¿qué capa acaba siendo la más relevante?
Jaime Sicilia, desde la mirada del espectador hacia el mar, sugiere una meditación involuntaria, una introspección o un viaje interior que nos resulta muy agradable y reparador. Quizás sea porque el mar está en permanente cambio, nunca terminamos de fijarlo, de aprehenderlo. Las olas, las corrientes, el viento y la luz nos ofrecen una imagen diferente del mar en cada momento.
Hay una escuela de pintura del siglo XVII en Kioto (Japón) que cubría el interior de templos y castillos, construidos en madera, con esmaltes de pintura dorada sobre los que pintaban motivos de la naturaleza (sintoísmo) como metáfora del ciclo de la vida. La forma en que estas pinturas interactúan con el punto de vista del espectador y la luz cambiante La forma en que estas pinturas interactúan con el punto de vista del espectador y con los cambios de luz se proponen como una forma de abordar la representación del mar del tiempo y su complejidad.
Adrián Ibáñez Galería began its work in 2016 in Tabio Cundinamarca, in a rural context at the edge of the mountains, and after five years opened its new permanent headquarters in Bogotá in San Felipe - Distrito del Arte, at Calle 72 A # 22 - 35. Adrián Ibáñez Galería, is dedicated to the reflection, exhibition and dynamization of culture, focused on contemporary art, we present ourselves as an option for cultural and artistic exchange. Adrián Ibáñez Galería is born from our own experience as artists and our evolution in the art sector both in Colombia and abroad, we have had the opportunity to closely understand processes and artistic practices, its problems with the exhibition and dynamization of the same, hence the idea of having a platform space for artists to exhibit and generate reflection from their most diverse poetics, and confront them with artists from other regions and countries, our new headquarters in Bogotá contains our program of both solo and group exhibitions in its new rooms giving a special space to international artists.
Kindi Llajtu is one of the new generations of indigenous artists with a solid academic background who have begun to figure prominently in the national art scene. His work is, therefore, the result of a singular mixture of values that involves, on the one hand, a particular cultural legacy, different from that of the majority of the country's artists and, on the other hand, an updated knowledge of the techniques, management and history of Western art, which have enabled him to move adequately within the variables and purposes that frame the development of artistic production today. Kindi Llajtu, for example, has taken a stand for painting at a time when the pictorial medium has been strongly questioned for having implicit definitions that, for some thinkers, limit the possibilities of questioning the concept of art, but he has done so with full awareness that at this point in the 21st century there can be nothing forbidden to artists, that any expressive path is valid as long as the content of the works is in tune with contemporary life and the world. His work, like that of some other artists coming from minority cultures at a time when globalization has homogenized not only art but also the parameters of its appreciation and discussion, is clinging to the expressive validity of difference, of values and convictions. difference, of values and convictions unknown to the general public, but which for him are dear to him and an integral part of his formative experiences. To do so, he brings into play some of the freedoms and resources of contemporary art, so that his intentions are not only understandable but also stimulating, illustrative and suggestive. It should not be forgotten that we live in an era in which many of the pillars on which Western civilization rests are being challenged and viewed with growing skepticism. It is not strange, therefore, that a work that on the one hand comes from cultural peculiarities and on the other hand aims at universality, has been built on the basis of opposites, of conceptually opposed poles but whose divergences the artist manages to conjure and harmonize. Figuration and abstraction, for example, occur simultaneously in his work, but without being considered as opposing concepts, but rather as complementary, like drawing and painting, like evanescent evocation and physical concretion, and like the act of painting and unpainting, of covering and uncovering the canvas, allowing the fortuitous to make its presence felt with its sequel of surprises to increase the poetic breath of his representations. This exercise of applying and removing the layers of paint creates a multicolored background, unfathomable but ambivalent, both in the sense that it visually gives the impression of a rich and rough texture, although it is not always the same. a rich and rough texture, although to the touch it is of a singular smoothness, and in the sense that while suggesting deep thicknesses, it reiterates the two-dimensionality of the works and is decisive in the serenity of its presence. And on this kind of polychrome bed, the artist not only drips drops of acrylic in an exercise reminiscent of action painting and that increases the possibilities of chance, but also captures, through drawings of a continuous and fluid line, memories of his childhood, memories of his people, reminiscences of his cultural environment and therefore of his myths, customs and values. It goes without saying that by applying drawing over painting, the artist is inverting the tradition of drawing first and painting over the drawing, also proposing in this way a different and unique way of approaching plastic expression ... . Kindi Llajtu has laid the foundations of an oeuvre whose scope is as exciting and varied as the color of his memory.
Kindi Llajtu is one of the new generations of indigenous artists with a solid academic background who have begun to figure prominently in the national art scene. His work is, therefore, the result of a singular mixture of values that involves, on the one hand, a particular cultural legacy, different from that of the majority of the country's artists and, on the other hand, an updated knowledge of the techniques, management and history of Western art, which have enabled him to move adequately within the variables and purposes that frame the development of artistic production today. Kindi Llajtu, for example, has taken a stand for painting at a time when the pictorial medium has been strongly questioned for having implicit definitions that, for some thinkers, limit the possibilities of questioning the concept of art, but he has done so with full awareness that at this point in the 21st century there can be nothing forbidden to artists, that any expressive path is valid as long as the content of the works is in tune with contemporary life and the world. His work, like that of some other artists coming from minority cultures at a time when globalization has homogenized not only art but also the parameters of its appreciation and discussion, is clinging to the expressive validity of difference, of values and convictions. difference, of values and convictions unknown to the general public, but which for him are dear to him and an integral part of his formative experiences. To do so, he brings into play some of the freedoms and resources of contemporary art, so that his intentions are not only understandable but also stimulating, illustrative and suggestive. It should not be forgotten that we live in an era in which many of the pillars on which Western civilization rests are being challenged and viewed with growing skepticism. It is not strange, therefore, that a work that on the one hand comes from cultural peculiarities and on the other hand aims at universality, has been built on the basis of opposites, of conceptually opposed poles but whose divergences the artist manages to conjure and harmonize. Figuration and abstraction, for example, occur simultaneously in his work, but without being considered as opposing concepts, but rather as complementary, like drawing and painting, like evanescent evocation and physical concretion, and like the act of painting and unpainting, of covering and uncovering the canvas, allowing the fortuitous to make its presence felt with its sequel of surprises to increase the poetic breath of his representations. This exercise of applying and removing the layers of paint creates a multicolored background, unfathomable but ambivalent, both in the sense that it visually gives the impression of a rich and rough texture, although it is not always the same. a rich and rough texture, although to the touch it is of a singular smoothness, and in the sense that while suggesting deep thicknesses, it reiterates the two-dimensionality of the works and is decisive in the serenity of its presence. And on this kind of polychrome bed, the artist not only drips drops of acrylic in an exercise reminiscent of action painting and that increases the possibilities of chance, but also captures, through drawings of a continuous and fluid line, memories of his childhood, memories of his people, reminiscences of his cultural environment and therefore of his myths, customs and values. It goes without saying that by applying drawing over painting, the artist is inverting the tradition of drawing first and painting over the drawing, also proposing in this way a different and unique way of approaching plastic expression ... . Kindi Llajtu has laid the foundations of an oeuvre whose scope is as exciting and varied as the color of his memory.
Kindi Llajtu is one of the new generations of indigenous artists with a solid academic background who have begun to figure prominently in the national art scene. His work is, therefore, the result of a singular mixture of values that involves, on the one hand, a particular cultural legacy, different from that of the majority of the country's artists and, on the other hand, an updated knowledge of the techniques, management and history of Western art, which have enabled him to move adequately within the variables and purposes that frame the development of artistic production today. Kindi Llajtu, for example, has taken a stand for painting at a time when the pictorial medium has been strongly questioned for having implicit definitions that, for some thinkers, limit the possibilities of questioning the concept of art, but he has done so with full awareness that at this point in the 21st century there can be nothing forbidden to artists, that any expressive path is valid as long as the content of the works is in tune with contemporary life and the world. His work, like that of some other artists coming from minority cultures at a time when globalization has homogenized not only art but also the parameters of its appreciation and discussion, is clinging to the expressive validity of difference, of values and convictions. difference, of values and convictions unknown to the general public, but which for him are dear to him and an integral part of his formative experiences. To do so, he brings into play some of the freedoms and resources of contemporary art, so that his intentions are not only understandable but also stimulating, illustrative and suggestive. It should not be forgotten that we live in an era in which many of the pillars on which Western civilization rests are being challenged and viewed with growing skepticism. It is not strange, therefore, that a work that on the one hand comes from cultural peculiarities and on the other hand aims at universality, has been built on the basis of opposites, of conceptually opposed poles but whose divergences the artist manages to conjure and harmonize. Figuration and abstraction, for example, occur simultaneously in his work, but without being considered as opposing concepts, but rather as complementary, like drawing and painting, like evanescent evocation and physical concretion, and like the act of painting and unpainting, of covering and uncovering the canvas, allowing the fortuitous to make its presence felt with its sequel of surprises to increase the poetic breath of his representations. This exercise of applying and removing the layers of paint creates a multicolored background, unfathomable but ambivalent, both in the sense that it visually gives the impression of a rich and rough texture, although it is not always the same. a rich and rough texture, although to the touch it is of a singular smoothness, and in the sense that while suggesting deep thicknesses, it reiterates the two-dimensionality of the works and is decisive in the serenity of its presence. And on this kind of polychrome bed, the artist not only drips drops of acrylic in an exercise reminiscent of action painting and that increases the possibilities of chance, but also captures, through drawings of a continuous and fluid line, memories of his childhood, memories of his people, reminiscences of his cultural environment and therefore of his myths, customs and values. It goes without saying that by applying drawing over painting, the artist is inverting the tradition of drawing first and painting over the drawing, also proposing in this way a different and unique way of approaching plastic expression ... . Kindi Llajtu has laid the foundations of an oeuvre whose scope is as exciting and varied as the color of his memory.
The sea. We all have an internalized image of the sea. An image to which we turn when we need a moment of rest, of tranquility, of peace. The sea captures the observer's gaze. Somehow an involuntary meditation, an introspection involuntary meditation, an introspection or an inner journey that we find very pleasant and restorative. restorative. Perhaps it is because the sea is in permanent change, we never finish to fix it, to apprehend it. to fix it, to apprehend it. The waves, the currents, the wind and the light offer us a different image of the sea every moment. different image of the sea at every moment. There is a seventeenth-century school of painting in Kyoto (Japan) that covered the interior of temples and castles. of the temples and castles, built in wood, with glazes of golden paint on which they painted on top of which they painted motifs of nature (Shintoism) as a metaphor of the cycle of life. cycle of life. The way in which these paintings interact with the viewer's point of view and the changing light viewer's point of view and with the changes of light I found extraordinarily interesting as a way of approaching the representation of the sea. as a way of approaching the representation of the sea and its complexity. Mares proposes a collection of images that represent the emotion of being in front of the sea, through a in front of the sea, through an experience of color, light, space, matter and time. Beauty repairs
The sea. We all have an internalized image of the sea. An image to which we turn when we need a moment of rest, of tranquility, of peace. The sea captures the observer's gaze. Somehow an involuntary meditation, an introspection involuntary meditation, an introspection or an inner journey that we find very pleasant and restorative. restorative. Perhaps it is because the sea is in permanent change, we never finish to fix it, to apprehend it. to fix it, to apprehend it. The waves, the currents, the wind and the light offer us a different image of the sea every moment. different image of the sea at every moment. There is a seventeenth-century school of painting in Kyoto (Japan) that covered the interior of temples and castles. of the temples and castles, built in wood, with glazes of golden paint on which they painted on top of which they painted motifs of nature (Shintoism) as a metaphor of the cycle of life. cycle of life. The way in which these paintings interact with the viewer's point of view and the changing light viewer's point of view and with the changes of light I found extraordinarily interesting as a way of approaching the representation of the sea. as a way of approaching the representation of the sea and its complexity. Mares proposes a collection of images that represent the emotion of being in front of the sea, through a in front of the sea, through an experience of color, light, space, matter and time. Beauty repairs
The sea. We all have an internalized image of the sea. An image to which we turn when we need a moment of rest, of tranquility, of peace. The sea captures the observer's gaze. Somehow an involuntary meditation, an introspection involuntary meditation, an introspection or an inner journey that we find very pleasant and restorative. restorative. Perhaps it is because the sea is in permanent change, we never finish to fix it, to apprehend it. to fix it, to apprehend it. The waves, the currents, the wind and the light offer us a different image of the sea every moment. different image of the sea at every moment. There is a seventeenth-century school of painting in Kyoto (Japan) that covered the interior of temples and castles. of the temples and castles, built in wood, with glazes of golden paint on which they painted on top of which they painted motifs of nature (Shintoism) as a metaphor of the cycle of life. cycle of life. The way in which these paintings interact with the viewer's point of view and the changing light viewer's point of view and with the changes of light I found extraordinarily interesting as a way of approaching the representation of the sea. as a way of approaching the representation of the sea and its complexity. Mares proposes a collection of images that represent the emotion of being in front of the sea, through a in front of the sea, through an experience of color, light, space, matter and time. Beauty repairs