La Conservera's eighth series of exhibitions
La Conservera
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La Conservera Abraham Hurtado Sala Verónicas 5 February–31 July 2012 La Conservera |
Sala Verónicas (Murcia) and La Conservera Contemporary Art Centre (Ceutí/Murcia) open their eighth series of exhibitions on Friday February 3rd and Saturday February 4th respectively.
These six artists share common concerns and interests. All six shows focus on exploring the stage as a model for an exhibition space and its relationship with theatre, dance, performativity, shamanism and certain ancestral and contemporary rituals.
Sala Verónicas
Markus
Schinwald (Salzburg, Austria,
1973)
Animal Works
Following previous experiences with the aquariums
produced for his show at the Kunstverein Hannover, he has created two
colossal terrariums as stages, one with tortoises and the other with
chameleons; this is the first time that his stages have not been animated
by human performers. The animals in them function as actors and create
their own habitat in these strange living spaces. The terrariums contain an
unexpected, magical and amazing theatrical world, with scenery comprising
many of the elements that are traditional in Schinwald's work, including
his altered paintings and some of his videos.
Space 1
Abraham Hurtado (Murcia, Spain, 1972)
FAKEless
FAKEless centres on the
conception of a space in which we can watch emotion being constructed, the
possible ways of perceiving a face and the transformation of that face
through an act of presence. Although the viewer's first impression is of
digital manipulation, FAKEless makes no use of any kind of artifice or
performative tool. It attempts to bring us close to the most intimate
emotion generated by the slow, subtle movement the performers themselves
produce during the action, avoiding any kind of technological process such
as slow motion or still images. The installation consists of a total of
fourteen black and white portraits projected from the ceiling to the
floor.
Space 2
Lothar Hempel (Cologne, Germany, 1966)
Opium
Opium is a much more a place than anything else. It's a
place on a stage in a theatre somewhere in the floating world. And as we
zoom into this smoky room with its ghastly light and sleepy waiters we
realise that we've been put on stage as actors. So we act! We tumble like
dice between the stage sets depicting a side street in this very same
district where the theatre is located. And as the play continues we are
being pushed to enter a door, which is painted on a false wall. And as we
walk through it, we arrive in the same theatre again. Now we see ourselves
as actors on stage. I think to myself: "It's very amusing to be your own
audience. Especially when you are under the influence of a strong drug,
such as opium."
Space 3
Matthew Ronay (Louisville, Kentucky, USA, 1976)
Between the Worlds
In
the rear of the space a domed room of black draped cloth encloses a world
of in-between states; male, female, terrestrial, astral, light, dark, and
enchanted. Titled Between the
Worlds this cave-like yurt refers to
places such as forests or deep sea abysses, which have a history of
performing as archetypal coming of age sites. C. G. Jung and Joseph
Campbell have written extensively on the use of these places in myths as
being necessary to spark shifts in psychology that lead to acquiring self
knowledge.
In the front of the space 12 new objects are presented that act as a kind of cemetery on the grounds of the aforementioned environment. These objects stand in a type of symmetrical order that reflects a feeling both of funerals and weddings. Frills and beads permeate the space in waves of numerals and patterns.
Space 4 – Lower Level
Saelia
Aparício (Ávila,
Spain-1982)
San Borondón
Through her work she compares different dimensions
of the absurd: the real one in which we live and the fictions the artist
herself creates. She is also obsessed with modes of perception opposed to
conventional social assumptions, which can be considered just as arbitrary
as the fictions she constructs, and which our habits or upbringing lead us
to accept as reasonable.
The project arises from the pointless fixation with distinguishing between true and false, from deceptiveness and from the theatrical device of trompe l'oeil, recreating the staging of a parallel world, a dystopic, futuristic hypothesis, for which the raw material is rubbish, borrowed from local factories, scrap yards, recycling centres and other waste management companies.
Space 4 – Upper Level
Oriol
Nogues (Reus, Spain, 1984)
How
Our Lives Become Stories
Oriol
Nogues's artistic activity is deliberately multidisciplinary, being
articulated and organised around a series of projects which are developed
at the same time and in turn feed off each other, presenting us with a
range of different contexts and mechanisms of reception.
The visual poems presented in the series of filmed actions entitled Wild Commotion, use the illusionistic techniques of seventeenth-century theatre to construct new forms of resistance in the private space. Denying objective reality is what lies behind Karaoke of Lovelessness, a device which endorses the therapeutic virtues of pure theatre in a playful and at the same time ironic way. One sings to pain cathartically, for one's own pleasure and always using other people's words.
HOW OUR LIVES BECOME STORIES - Performance
COLLECTIVE ACTION FOR THE PEOPLE OF
CEUTÍ
Saturday February 4th
at 12:00. Patio 2 of La Conservera.
Narrating to exist. Living to tell a story.
Every community is a story that is constantly
being narrated.
To narrate
(oneself) is in a sense to invent (oneself).
This collective action is intended as a portrait/story of the collective actant, in this case the people of Ceutí. The project is the result of a process of symbolic construction based on elements that express the identity of the town. The narrative formulated through the action is intended to serve as a representation of the collective actant.
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