From this week, the balcony of the Town Hall with the main attraction of Easter Island, an inflatable blue moai.
This work was presented last week at the Palace Molin to the artist Nadin Ospina, a guest of honor at La Mar de Músicas.
In addition to the moai, the port city with another figure, installed on the roof of the Grape Jumillano, located on the street Jara.
The meaning of the moai is still uncertain, and there are several theories about these statues.
The most common of these is that the statues were carved by the Polynesian inhabitants of the islands, between the twelfth, as representatives of deceased ancestors, so they project their mana (supernatural power) on their descendientes.Debían placed on the ahu ( ceremonial platforms) with their faces toward the interior of the island and after conceding the eyes of a coral or red volcanic rock became the aringa ora (living face) of an ancestor.
For its part, the artist and sculptor Nadin Ospina Colombian Lands her exhibition opening 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.
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 Â¼.
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 idea 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