martes, 29 de marzo de 2022
lunes, 28 de marzo de 2022
THE ROAD TO RESTORATION __________________ LAPIEZA 1416-1424 ______________________ ART SERIES #121 RECREO
1416 AWAKE /// 1417 FOREST /// 1418 EVA
1419 QUARRY /// 1420 QUAY /// 1421 TREE
1422 ROCK /// 1423 GEA /// 1424 SWAMP
Dance is a form of art that is made by purposefully recreating selected sequences of human motion, with the values of aesthetic and symbolism that are acknowledged by both performers and observers. The dance can be freeform or can have a predefined choreography. The dance can be performed to serve social, competitive, ceremonial, martial and erotic functions.
The dance has always been with us, even before the arrival of written language and modern history, when our earliest cultures evolved utilizing performance methods to pass the stories from one generation to the next. Historians believe that celebratory and ritual dances are one of the essential factors of the development of early human civilizations.
DECONSTRUCTING AN EXPLICIT CONTEXT____________________ESSAY
THE BIOETHICAL THOUGHT - The artists Bobrikova and De Carmen have been working on the social-political scene for more than a decade, and in Deconstructing an Explicit Content they set in motion a machinery of thought to reveal certain forms of capital in relation to the idea of landscape and territory. They also simultaneously invite us to consider how to channel our behavior under the guidance of ethical thinking and the necessary redefinition of the concepts of development, progress, technology, culture, humanity, and social being. The ideas presented within the work bring us closer to the reflections of Felix Guattari's ecosophical theory. The ingredients of a polyhedral work.
THE ACTS - The piece has its official opening: locals came and saw a lot of random objects in the forest. Some smile and others say nothing. It is remarkable, someone says. Night comes, and as in every town and in every forest, the wild walks around and plays. With the morning sunrise, the elegant installation has already been destroyed. Objects have been moved, some have been stolen, and the function of the artwork has been activated. The process has started, and more questions are asked; Who has destroyed the art? Who has destroyed nature?
THE SOCIAL POLITICAL FIELD - The action-installation is thus integrated into both the physical and the social territory, turning the landscape into a post-landscape. The mere act of deviating the trajectory of objects is a political act and, therefore, an organic way of approaching the idea of art, a subtle discourse, with complex and profound reflections on the ethics and aesthetics of the work itself, subverting logical fact and entering the poetics of art. The action can be seen both as a fascinating metaphor on global consumerism, the misuse of beauty and also as a pile of junk. Both are true. The work raises several questions, both formally and aesthetically and each has multiple answers according to the analyst's point of view.
ECOSOPHICAL MOTIVATIONS - By confronting the idea of what is natural and what is unnatural, this piece by Bobrikova and De Carmen makes us ask ourselves whether leaving a normal chain of anonymous objects in a beautiful Swedish landscape is a metaphor of our daily actions on a boundless canvas. We must activate questions about the ethical-political as well as the necessary transformations of the tensions resulting from this global crisis, looking at energies and feelings, while also eliminating galloping consumerism. The work seems to be a minimalist transdisciplinary opera in the search of the wisdom to lead us towards a non-binary harmonious coexistence. We are pushed to rethink the relationship we have with damaged landscapes. This short opera may be an inquiry among the psychological, the social, and the environmental, a part of the evolution towards a new model, where we become aware of the antagonistic, yet symbiotic, relationship between society and nature.
HATTAH
Todo cabe en los bolsos, todo se lleva, todo está revuelto, aunque no se vea. Nosotros estamos revueltos.
2020