April 21 - 23, 2023
A program of Cámara de Comercio de Bogotá
A cultural program of:
April 21 - 23, 2023
A program of Cámara de Comercio de Bogotá
A cultural program of:
ROOM 1 - OBSERVE / CONSERVE - ANGIE VEGA Critical position from painting and realism, OBSERVE, as an exercise intrinsic to painting and CONSERVE as an exercise of memory, or a correlation between content and container, art and support. The negation of painting, the message to which we cannot access, the accumulation of contents and their disposal or their conservation as the core of the message, Vega brings us closer to a series of questions and a scenographic imagery in which container and contents share the stage, finally leaving the message, contained in the spectator. ROOM 2 - DENATURE The rupture of the elements leads us to the encounter of new materializations, new positions before the phenomenology of the natural, decontextualization and extraction could be here a binary formula in which the 8 participating artists pose their encounter with the natural. The creation establishes a mirror axis in which the copy or the representation carry a parallelism in our daily life, the cultural mining appears to give account of what is extracted from the social quarry, or from the value chain that the natural ecosystem proposes to us to which we are doomed.
Adrián lbáñez Gallery was born from the experience of its director as an artist and his master’s degree in Cultural Management in Spain, which led him to know projects and dynamics of art circulation from decentralization, from there, the idea of creating an art gallery in a rural area was born, which operated in labio during the first 5 years. Towards the end of the year 2021, the gallery opens its new permanent headquartersand moves to Bogota to the Art District in San Felipe. Focused on contemporary art and with a global vision, the gallery actively participates in international fairs generating dynamics of exchange and dialogue between artists from different regions. Adrian Ibañez Gallery works with emerging artists, mid-career and some already established, has artists of various nationalities and tries to maintain a gender parity in its represented and exhibited.
ROOM 1 - OBSERVE / CONSERVE - ANGIE VEGA Critical position from painting and realism, OBSERVE, as an exercise intrinsic to painting and CONSERVE as an exercise of memory, or a correlation between content and container, art and support. The negation of painting, the message to which we cannot access, the accumulation of contents and their disposal or their conservation as the core of the message, Vega brings us closer to a series of questions and a scenographic imagery in which container and contents share the stage, finally leaving the message, contained in the spectator.
ROOM 1 - OBSERVE / CONSERVE - ANGIE VEGA Critical position from painting and realism, OBSERVE, as an exercise intrinsic to painting and CONSERVE as an exercise of memory, or a correlation between content and container, art and support. The negation of painting, the message to which we cannot access, the accumulation of contents and their disposal or their conservation as the core of the message, Vega brings us closer to a series of questions and a scenographic imagery in which container and contents share the stage, finally leaving the message, contained in the spectator.
My work consists of an exploration that not only concerns painting as a technique, but through it I try to put painting itself as a technique, but through it I try to put on stage questions that have always I consider that painting is a place where it is possible to displace any kind of I consider that painting is a place where it is possible to displace any kind of questioning, and in my particular case, in my own case, the questioning, and in my particular case, the questions I have around a recurring genre in the around a recurrent genre in painting: the portrait. When I refer to staging, I mean that I consider the people I portray as characters who are people I portray as characters who are narrating a story; either about themselves or the themselves or the narratives that their presence generates in me. These These portraits are preceded by a process of meticulous observation of the people I choose to the people I choose to portray, either because I am linked to them by a personal story or because they simply catch my attention. personal history or because they simply catch my attention. In this process of observation observation process I understand how they move, what gestures characterize them and their characterize them and their way of being in space. I believe that the portrait is a that not only alludes to the physical features of a person, since it also involves the also implies the capture of very brief gestures that are so banal and almost imperceptible in life. and almost imperceptible in ordinary life, I am interested in documenting them.
¿Qué pasaría si dos machos deciden estar juntos toda su vida y formar familia con un hijo que abandonó otra pareja? Para los pingüinos del cabo, esto es natural. ¿Qué pensarías de una familia con dos papás y una mamá? Para los cisnes negros, esto también es natural. ¿Con qué ojos verías que dos madres solteras decidieron unirse como pareja y conformar una gran familia? Para las Gaviotas esto es natural. ´¡Es natural! ´es una reflexión con respecto a la formación de vínculos sociales y familiares, donde la homosexualidad o bisexualidad va más allá de un acto sexual y se convierte en eje estructurante de la manera de relacionarse en más 1500 especies en el reino animal. Utilizando la popular cobija ´siete tigres´ como medio y símbolo de cuidado, familia y sexualidad, insertando las piezas en un lenguaje cotidiano y cercano que nos lleva a preguntarnos ¿Porque estas conductas no son naturales para algunos humanos?
Repertorio Botánico tiene como punto de partida la representación de las plantas en las ilustraciones botánicas del siglo XVIII y XIX, cuyo objetivo era inventariar el reciente repertorio de especies vegetales que ofrecía el nuevo mundo. Este tipo de representación, muy cercana a lo ornamental, aunque está basado en una profunda observación de la planta, no sigue un interés claro en replicarla o copiarla: fragmenta, suma, repite, invierte, aísla la planta de su entorno natural y la organiza dentro de la página de una manera forzada y ficticia para facilitar la lectura de sus formas particulares. Yo reinterpreto esta operación plástica en una nueva composición acercándome a la idea romántica del jardín, a través de una sucesión de capas sobrepuestas de color y pintura. Yuxtapongo al final una forma sólida también derivada del mundo botánico, pero que yo asocio con formas modernas cercanas a la abstracción.
Mi trabajo surge de mi experiencia de crecer entre la región rural de los Llanos Orientales y la vida urbana de la ciudad de Bogotá en Colombia. Exploro materialidad orgánica, composición formalista, auto-reflexión y cómo las cosas resuenan con la tierra que las habilita. Busco evocar apreciación por lo natural con relación a los espacios industrialmente coordinados y coreográficos, tanto mentales como físicos, de la ciudad. Incorporo materiales orgánicos con materiales industriales y asigno a lo orgánico un orden sistemático. El encuentro entre un flujo intuitivo e instintivo y un control artificialmente impuesto pero necesario, refleja las dos realidades a las que pertenezco, buscando reclamar mi identidad en la confrontación y cohabitación de distintos valores.
Esta obra de arte ha sido meticulosamente creada a partir de masa de papel reciclada, obtenida exclusivamente de los desechos de otras esculturas de papel construidas por el artista. Con un profundo propósito detrás de cada paso de su proceso creativo, que busca emular el ciclo de vida de una hoja de árbol, cuya caída al suelo nutre y revitaliza el entorno. De manera similar, cada escultura en esta colección se ha confeccionado con hojas de papel, aprovechando hábilmente los recortes que anteriormente eran ignorados. Cada elemento en este inventario artístico es un estudio minucioso y una exaltación de la muerte como parte esencial de un ciclo natural. A través de formas que reproducen fielmente hojas, semillas, ramas, raíces y frutos, la obra captura la eterna danza de la vida y la muerte en la naturaleza. Al caer de los árboles al suelo y descomponerse, estos elementos orgánicos se integran en el manto terrestre, nutriendo el suelo y otorgándole vitalidad. En este proceso, la muerte se convierte en el punto de partida para una nueva vida, como un ciclo infinito y sagrado.
"Emergence is the presence of properties, characteristics, behaviors, or capabilities that appear in various systems but are not readily traceable to their component parts." (Tomlinson). From the concept of "Emergence" from the theory of complex systems, I seek in the Emergence series, to propose an approach to painting imagining plastic possibilities resulting from the complexity of an expressive system, own, internal, cellular, but that manifests itself unpredictably and is shaped each time as the result of the activation of a set of laws that even neither science nor current philosophy can explain.
Imagined Architectures. The pieces that are part of the series Arquitecturas Imaginadas and La Disolución De Los Elementos, are proposed as exercises that address spatial issues from a perceptual approach where the configuration of architectural spaces and their three-dimensionality is projected. In the works, the production of cuts made by hand on paper supports where voids are generated, structurally recompose the represented space, thus creating unlimited environments in which new constructions are perfected. On the veneer are conceived designs that through the application of tonal ranges and strokes that mutate in geometry and in turn in volume, expand the spatial sensation of the two-dimensional surface.
La ruptura de los elementos nos conduce al encuentro de nuevas materializaciones, nuevas posiciones ante la fenomenología de lo natural, descontextualización y extracción podrían ser aquí una formula binaria en la que los 8 artistas participantes plantean su encuentro ante lo natural. La creación establece un eje espejo en el que la copia o la representación llevan un paralelismo en nuestra cotidianidad, la minería cultural aparece para dar cuenta de lo que se extrae de la cantera social, o bien de la cadena de valor que nos propone el ecosistema natural al cual estamos abocados.
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