Banco Central do Brasil Saving the Safe (2017)
07
feb 2018
06
may 2018

Compártelo en redes

Publicada el 29 ene de 2018      Vista 25 veces

Descripción de la Exposición

Carlos Garaicoa exhibe en São Paulo en el nuevo espacio cultural de Porto Seguro. Habiendo exhibido con anterioridad en varias ediciones de la Bienal de Sao Paulo (1998, 2004, 2010), y en la galería Luisa Strina, en esta ocasión regresa con una exhibición personal donde se presentarán obras de reciente producción. La muestra, que abarca tres niveles del Centro Cultural, comienza con un recorrido por los nombres de las tiendas de las calles habaneras que el artista ha dado en intervenir con mensajes irónico-poéticos en Fin de silencio (2010), para continuar con instalaciones como Saving the Save (Banco Central de Brasil), o If you Have a Glass House, que aluden a la fragilidad de los discursos políticos demagógicos y/o a la necesidad de transparencia en todos los sistemas políticos y económicos. Se incluirá también su reciente video instalación Abismo, seleccionada entre las 10 mejores obras del 2017 por Artnet. ----------------------------------------------------------------------------------------------------- The exhibition brings the recent production of Carlos Garaicoa, the works on display propose reflections on the relationships between architecture, urbanism and geopolitics. ­ To what extent can architecture be understood as a society’s “frame”? What roles does architecture play in a context of urbanization? How does it bend to eventual political, ideological or even social pressures? These are some of the questions that surround and structure the work of Carlos Garaicoa, a multidisciplinary Cuban artist whose work is being exhibited at Porto Seguro Cultural Space from February 7 through May 6. With Rodolfo de Athayde as curator, the exhibition Carlos Garaicoa: being urban brings together 8 works by the artist. Between installations, videos, photographs, scale models and drawings, the works present the creative journey of the author, for whom the city plays a fundamental role. The Cuban constructs a poetics in which to contrast social, economic and political issues that directly impact the formation of the subjectivities and knowledge of the contemporary world. “Garaicoa’s work is—literally—the physical construction of models of utopian or real spaces along with an unusual combination of symbols that also constitute an acute exercise of the knowledge of human phenomena in their contemporary context par excellence: the modern city,” the curator says, emphasizing that the show gains strength in São Paulo, “a city that symbolizes urban and architectural utopia worldwide.” For the artist, every utopia is constructed so as to overcome the limitations of the present. Paradoxically, however, it is born already portending its own surpassing. The project of an ideal society reaches a point of crisis the moment it articulates itself as a grandiose urban program. Such questions are constantly evidenced in the work of Garaicoa, who acknowledges the contradictions intrinsic to the different currents of modernism as catalysts for change and social transformation. “I think architecture is this space where I can discuss existential, political and historical ideas. I have a great interest in photography and the representation of urban space in general, but as a means to approach other issues, closer to fiction and history,” says Carlos Garaicoa. “Following this drift, I found myself approaching architecture and, finally, needing to work with architects, collaborating with a large team, trying to convince them all the time that what we are doing is art and not architecture,” he adds. The show encompasses works that range from those related directly to the artist’s original Cuban context to productions that originate from Garaicoa’s way of seeing the world’s different realities, including the Brazilian. An example of the first case is the installation Fin del Silencio [End of Silence] (2010), which displays a set of tapestries that, together with two projections, highlight the signatures of traditional pre-revolutionary commercial establishments in Havana, capital of Cuba—resignified by the artist.

Actualizado

el 05 feb de 2018 por ARTEINFORMADO

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