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Javier Codesal and Nadin Ospina, protagonists of the Sea of Art (12/07/2010)

Councillor for Culture, Rosario Montero, has opened today by two major exhibitions this year starring Art La Mar, in the XVI Festival La Mar de Músicas dedicated this year to Colombia and collect the works of Javier Codesal and Nadin Ospina.

Both artists have been present at the opening of their exhibition where it is collected differently, the culture of Colombia.

Javier Codesal

Javier Codesal is an artist of large and technical records, his work spans such diverse proposals circulating with great freedom and consistency between word and image.

Facilities, activities, photographs, texts, poetry, film and video are the various means and tools used and merged in their projects.

In addition, Codesal has developed so far intense creative activity since 1983, where she completed her studies and makes his first video installation.

The fundamental point to which his gaze is focused man and identity (male and female) at different stages of life, faced with the disease, desire, frustration, expressed in a very personal language and strong symbology.

Missing Feet is the exhibition that the artist exhibits in the Hall of the Byzantine walls of Cartagena and shows, with two videos and 160 digital photographs, reflection on the state of violence and its consequences.

In the exhibition offers images Codesal recorded in the Colombian Llanos, portrait of people strangely severed, violence and death, which stirs up desires and remote family and becomes owner at times.

Projects like the mantle of Veronica (1992), a man loved Fable (1999), Father Female (2001), Archangel (2002), Monte Perdido (2003), Mario and Manuel (2005), Mayte (2005), Travel wedding (2007) or longevity (2008), are, among others, examples of a job that very subtlety underscores the blurring of boundaries between the real and the imagined, and redefines the experience through memory .

He has exhibited individually at: The Centre of the lmatge Virreina, Barcelona, 2009; Gallery Estrany - de la Mota, elona § Bara, 2004; MUA, Alicante, 2003, Sala Image, Sevilla, 2002; Space One of MNCARS, Madrid , 1999; etc.

Among his recent exhibitions: Veu between lini (voice between the lines), Centre d "Art La Panera, Lleida, 2010, Shadow Hunter, Cultural Center of Spain.

Mexico DF. Mexico, 2010; States of pain, Centro Puertas de Castilla, Murcia, 2009; Intéivalo_dos.

Cycle of contemporary art and flamenco, MEIAC, Badajoz, September 20, The Discreet Charm of Technology.

Arts in Spain, Neue Galerie Graz, Graz, Austria, 2009, Water and contemporary dreams, Aragon Pavilion, Expo Zaragoza 2008.

He has published books of poetry.

Happy Dog (Peripheral, 2009), was born Manuel (Icaria, 2005) and Image Camn (Icaria, 2002).

Between 1993 and 1995 dealt with the reconstruction and completion of the film Acarina Galaico of José Val del Omar, on behalf of the Andalusian Film.

He has taught numerous courses and workshops in universities, museums and other institutions.

Nadin Ospina

For its part, the artist and sculptor Nadin Ospina has opened its exhibition Colombian Lands at the Palace Molina, which includes figures and tables paradoxical figures, turning what hegemonic exotic.

Nadin Ospina's works are the result of the state of tránito and exchange of ideas that characterizes our era.

Its hybrid character refers to the QperaciOnes of signification that individuals make sodedades peripheral products of the hegemonic culture.

It highlights the state of constant redefinition that local cultures are due to the rise of communication networks and trade around the world.

Nadin Ospina proposals refer to a concept of Latin America if it ever really existed in crisis; allude to a reality in negotiation, in which pre-Hispanic myths of a lost Arcadia merge with the glittering spectacle transnational culture .

The revisions to the figures of Colima, copulating couples in the Tumaco and the Aztec warriors, all with their Mickey Mouse ears, outline a scenario in which the subjects engaged in fields of forces, in which the global and our local repel and attract, both must take ownership of fragments from different sources to give meaning to reality.

Ospina crossbred works are the result of a state of affairs in which the subjects included the so-called Western countries must give new meaning to transnational products to make them reconcile with their immediate reality, local reality.

Colombian artist cel proposals are the result of a world in which we all deveflido the other.

The pieces do not cease to offer. Eledto paradoxical because Nadin Ospina hegemonic termiha for turning in exotic: icons of Western culture, like the characters of Walt Disney or Matt Groening, are equated to the works of anonymous artists of primitive cultures to acquire and another character.

Ospina in the works of the coordinates that define the center and periphery become meaningless.

Ultimately, the proposals of Nadin Ospina, with all its exotic pop, parody lacreación attitudes toward multicultural peripheral capitalism itself.

The globalization of the economy and the spread of trade has resulted in an apparent tolerance of diversity, a tolerance that, in reality, it is not.

Multicultural capitalism offers the facade of respect for difference, in the conclusion of the crossbreeding, diversity and cultural uses.

difference.

However, this.

Tolerance has its limits: the otherness will be accepted and even celebrated, if not put into question the market economy, liberal democracy and ethical values of global capitalism.

While the music held mestizo, exotic food, fashion hybrid in the background, gives an increased force on the consumer society condemning the political and religious fundamentalism, such as Islam, which call into question the political and economic structures of the West.

In a parody, Nadin Ospina's sculptures allude to the exoticism that both praises the late capitalism: that of a domesticated otherness, far from causing fear, does cause a certain admiration.

Is a desirable exotic, stripped of its essence, and that does not question the primacy capitalism and its ideology.

It's an otherness that does not conflict, in which all, whether we are brown, black or yellow, we seem greatly to Mickey or Bart Simpson.

Nadin Ospina (Bogota, 1960) is one of the Colombian artists with more international exposure.

His work has been exhibited at events like the Biennial of Sao Paulo, Havana, Lyon and Venice.

He won the National Salon of Artists and the Guggenheim Foundation Fellowship in New York.

It's a pop artist whose art merges pre-Columbian forms with figures like Mickey Mouse and the Simpsons. Nadin Ospina is a Colombian artist of contemporary work by more than 20 years of persistent dedication has traveled many different areas of experimentation, from multimedia installations to painting and sculpture in various proceedings.

His interest in cultural processes and their problems have led him to produce a work openly critical and comfortable ANAGEMENT ¼.

His attitude backed by a resounding artistic production will stand out as a matter "of Colombia's most recognized artists of his generation.

It is a cultural atropófago.

The i dea of cultural antropagia was raised by the Brazilian poet Oswald de Andrade in a manifesto of 1928.

Seventy-two years later, the matter is not outdated.

In theory, this is basically devour distant cultures, even outside, to make them flesh and blood of the spirit.

Visiting hours to see the exhibits will be from Tuesday to Saturday from 10:30 to 13:30 and 18:30 to 20:30.

Source: Ayuntamiento de Cartagena

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