A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
Paradoxes; time and landscape. / Kindi llajtu - Harold Rubio
We propose a dialogue in which time is a bridge between two artists who end up meeting landscape and paradox, a search from their context linked to time.
The concept of paradox works here as a stimulus for reflection and functions as a window to reveal the complexity of reality.
Kindi Llajtu works from the idea of accumulation and a re-reading of the landscape and her territory in Putumayo. Time and space converge in her canvases in which figures emerge from her own experience in her environment or are simply apparitions that propose readings from her cosmogony.
Rubio presents his series Refound Paradises in which the paradox of time is present in the subversion of times and spaces, different times that converge in the creation of new territories or precisely the foundation of some alleged paradises; it is also noteworthy here, the presence of inverted colonialism that is seduced by nature paths that encompass his creations, it is worth mentioning that Rubio uses a novel technique giving an introduction to a material considered as out of the standard, his paintings are developed in plasticine on wood.
Adrián Ibáñez Galería is located in Tabio, Colombia, in a rural context on the edge of a mountain. Our landscape is the daily life of the countryside between cows, chickens, crops, and peasants. Also permeated by new inhabitants coming from cities that are becoming more and more frequent and by the tourism that visits the savanna, composed of weekend visitors and foreigners who choose the region thanks to its beauty and proximity to Bogotá. Adrián Ibáñez Gallery proposes itself as a window to the world from contemporary art in the rural context. A space for reflection, for the enjoyment of art, for the exchange between artists through their poetics, projects, and processes, an open space nestled in nature that allows its visitors a relationship in harmony with art and artists. A space that coheres socially from the culture of an entire region. Adrián Ibáñez Gallery is dedicated to the reflection, exhibition and dynamization of culture, focused on contemporary art. We believe in the decentralization of the exhibition and practice of the visual arts, in the same way, we pay attention to think of our context as a cultural corridor for an entire region, from the local to the global. Adrián Ibáñez Gallery is born from our own experience as artists and our future in the art sector both in Colombia and abroad. We have had the opportunity to understand the artistic processes and practices, their problems with the exhibition and dynamization of them, hence the idea of having a space platform for artists to exhibit and generate reflection from their most diverse projects, and confront them with the public from other regions and countries.
Refound Paradises - or inverted neocolonialism Untamed nature overflows the works of Harold Rubio, bromeliads, heliconias, jaguars, monkeys and toucans appear haughty in their biome, fertility and abundance colonize each centimeter of support that Rubio skillfully recomposes; desire and creation establish a dialogue between the components of a hybrid approach that in the form of large scenes or accurate framing of the imagined, lead us to decipher what is inhabited by characters that are sustained by the vital drive that abundance proposes in these neocolonialist landscapes. Rubio poses the ecstasy of the characters as a manifestation of the sublime before the immeasurable of nature, this relationship represented as the clash of two worlds and their contradictory correlations and / or acceptances are nothing more than the search for an identity. The frictions between worlds and cultures appear now vanished by the plasticity not only of a material but of a message; the process of construction of a new world. The mirror effect now portrays the other, previously invisible face and proposes the construction of a culture in expedition towards the unknown as a refuge. The purity of the untouched spills here its blood transformed into rivers of colors, exotic fauna and flora appropriated by globalization. The uncivilized here exhausts its language and disappears mixed in a new otherness. Refound Paradises is a game of shades, a mixture of times and truths, it is pure creation and gloat of power before the appearance of new worlds populated by the foundation and the re-encounter. Rubio pushes here the limits and the binomial dominator/dominated becomes blurred for those who assume the reading of these now new - old worlds.
Refound Paradises - or inverted neocolonialism Untamed nature overflows the works of Harold Rubio, bromeliads, heliconias, jaguars, monkeys and toucans appear haughty in their biome, fertility and abundance colonize each centimeter of support that Rubio skillfully recomposes; desire and creation establish a dialogue between the components of a hybrid approach that in the form of large scenes or accurate framing of the imagined, lead us to decipher what is inhabited by characters that are sustained by the vital drive that abundance proposes in these neocolonialist landscapes. Rubio poses the ecstasy of the characters as a manifestation of the sublime before the immeasurable of nature, this relationship represented as the clash of two worlds and their contradictory correlations and / or acceptances are nothing more than the search for an identity. The frictions between worlds and cultures appear now vanished by the plasticity not only of a material but of a message; the process of construction of a new world. The mirror effect now portrays the other, previously invisible face and proposes the construction of a culture in expedition towards the unknown as a refuge. The purity of the untouched spills here its blood transformed into rivers of colors, exotic fauna and flora appropriated by globalization. The uncivilized here exhausts its language and disappears mixed in a new otherness. Refound Paradises is a game of shades, a mixture of times and truths, it is pure creation and gloat of power before the appearance of new worlds populated by the foundation and the re-encounter. Rubio pushes here the limits and the binomial dominator/dominated becomes blurred for those who assume the reading of these now new - old worlds.
Refound Paradises - or inverted neocolonialism Untamed nature overflows the works of Harold Rubio, bromeliads, heliconias, jaguars, monkeys and toucans appear haughty in their biome, fertility and abundance colonize each centimeter of support that Rubio skillfully recomposes; desire and creation establish a dialogue between the components of a hybrid approach that in the form of large scenes or accurate framing of the imagined, lead us to decipher what is inhabited by characters that are sustained by the vital drive that abundance proposes in these neocolonialist landscapes. Rubio poses the ecstasy of the characters as a manifestation of the sublime before the immeasurable of nature, this relationship represented as the clash of two worlds and their contradictory correlations and / or acceptances are nothing more than the search for an identity. The frictions between worlds and cultures appear now vanished by the plasticity not only of a material but of a message; the process of construction of a new world. The mirror effect now portrays the other, previously invisible face and proposes the construction of a culture in expedition towards the unknown as a refuge. The purity of the untouched spills here its blood transformed into rivers of colors, exotic fauna and flora appropriated by globalization. The uncivilized here exhausts its language and disappears mixed in a new otherness. Refound Paradises is a game of shades, a mixture of times and truths, it is pure creation and gloat of power before the appearance of new worlds populated by the foundation and the re-encounter. Rubio pushes here the limits and the binomial dominator/dominated becomes blurred for those who assume the reading of these now new - old worlds.
KINDI LLAJTU MANOY SANTIAGO PUTUMAYO COLOMBIA (1976) In my work, the exercise of painting and unpainting, is assimilated to the steps of a ritual, where I permanently look for spaces that seduce me to ritual, where I permanently look for spaces that seduce me to wrap them with drawings with drawings, strokes, symbols that during the process can be maintained, transformed or disappear. symbols that during the process can be maintained, transformed or disappear to give way to a new image image that has little or nothing to do with the previous one. I look for traces that that bring me closer to experiences and memories of my unconscious. I have been able to show my work in La Cometa Gallery in Bogotá, Casa Lam Mexico, Artmadrid Spain, Alliance Française Paris France, Artbo Bogota, Colombia. Colombia.
KINDI LLAJTU MANOY SANTIAGO PUTUMAYO COLOMBIA (1976) In my work, the exercise of painting and unpainting, is assimilated to the steps of a ritual, where I permanently look for spaces that seduce me to ritual, where I permanently look for spaces that seduce me to wrap them with drawings with drawings, strokes, symbols that during the process can be maintained, transformed or disappear. symbols that during the process can be maintained, transformed or disappear to give way to a new image image that has little or nothing to do with the previous one. I look for traces that that bring me closer to experiences and memories of my unconscious. I have been able to show my work in La Cometa Gallery in Bogotá, Casa Lam Mexico, Artmadrid Spain, Alliance Française Paris France, Artbo Bogota, Colombia. Colombia.
KINDI LLAJTU MANOY SANTIAGO PUTUMAYO COLOMBIA (1976) In my work, the exercise of painting and unpainting, is assimilated to the steps of a ritual, where I permanently look for spaces that seduce me to ritual, where I permanently look for spaces that seduce me to wrap them with drawings with drawings, strokes, symbols that during the process can be maintained, transformed or disappear. symbols that during the process can be maintained, transformed or disappear to give way to a new image image that has little or nothing to do with the previous one. I look for traces that that bring me closer to experiences and memories of my unconscious. I have been able to show my work in La Cometa Gallery in Bogotá, Casa Lam Mexico, Artmadrid Spain, Alliance Française Paris France, Artbo Bogota, Colombia. Colombia.