MEMORIAS HÍBRIDAS Ene14 a Feb 13 de 2015

Internacional ArtExpo, en colaboración con Galería Bogotá Arte Contemporáneo BAC, se enorgullecen en anunciar la apertura de “Memorias Hibridas”, exposición internacional de fotografía, videoarte, instalación y performance, que se celebrará en Bogotá (Colombia) desde el 14 enero hasta el 13 febrero de 2015.

MEMORIAS HÍBRIDAS analizará la memoria de las personas que viven identidades híbridas, que viven una existencia en la que diferentes culturas, ciudades y lugares se mezclan creando experiencias y recuerdos paralelos. La multitud de diferentes iden-tidades y roles que desempeñamos en nuestra vida contemporánea, todos los lugares que visitamos y todas las personas que conocemos, se fusionan en la producción de memorias híbridas.

Curada por el arquitecto Luca Curci (fundador de LUCA CURCI ARCHITECTS, International ArtExpo y It’s LIQUID Group) con el apoyo de la Galería Bogotá Arte Contemporáneo BAC, La exhibición presenta 50 obras en forma de Fotografía, Instalación, Performance y Video Arte, resultado de la práctica de 23 artistas quienes representan 14 países originarios de 4 Continentes, reunidos en el espacio de exhibición de la Galería Bogotá Arte Contemporáneo BAC.

HYBRID MEMORIESJan14 to Feb 13 2015

International ArtExpo in collaboration with Bogota Arte Contemporaneo BAC Gallery, is proud to announce the opening of “Hybrid Memories’, international exhibition of Photography, Video Art, Installation and Performance which will take place in Bogota (Colombia) from January 14th to Feberuary 13th 2015.

HYBRID MEMORIES will analyze the memory of people who live hybrid identities, who live an existence in which different cultures, cities and places are mixed together creating parallel experiences and recollections. The multitude of different identities and roles we play in our contemporary life, all the places we visit and all the people we meet, merged together producing hybrid memories

Curated by Architect Luca Curci (Founder of LUCA CURCI ARCHITECTS, International ArtExpo and It’s LIQUID Group) with the support of Bogotá Arte Contemporáneo BAC gallery, the exhibition presents 50 artworks in the form of Photography, Installa-tion, Performance and Video Art, the result of the practice of 23 artists who represent 14 countries from 4 different conti-nents, merged in the space of the exhibition space of Bogota Arte Contemporaneo BAC Gallery.

Alec Von Bargen, “Veritas Feminae”, video 03’38, Mexico

Video Art

Alexandra Anikina, “Some Entropy In Your Tea” and “Aleph”, single-channel digital video, computer-generated voice, 2013, 8’15”, UK

Alexandra Anikina

Some Entropy In Your TeaSingle-channel digital video, computer-generated voice8’15”

Russian-born video artist Alex Anikina invites her viewer into a story of “an artificial intelligence in the world devoid of human presence”. In Some Entropy in Your Tea a default computer-generated voice accompanies the scattered flow of video frames as if taken from an archive of a vanished civilisation, setting a poetic discourse for the blurred borders between memory and history.

In the absence of humans, the artificial entity would have no reference points against which it could measure its own exis-tence, except for the mass of knowledge left behind by the humanity. Will this knowledge taken out of the original context structure itself and become a “memory”, or will trigger madness?

As the systems that preserve information evolve to accommodate for increasingly larger amounts of data, and the contempo-raneity starts to give under its weight, Jacques Derrida’s “archive fever” might become the lethal disease of humanity. Some Entropy In Your Tea responds to the dystopia by seeing the end of the world as a practical experiment designed to sort through the information, as “an ultimate prioritising machine” and “a way of breaking the loop.”

AlephSingle-channel digital video2’28’’

Aleph embarks on a voyage to the origins of consciousness. Trying to emerge from the shadow of humanity’s overbearing me-mory and define its own identity, the artificial mind from the previous work, Some Entropy In Your Tea, starts to question the basis of the some of our most firmly held ideas, establishing from scratch new definitions for language, sanity and love. In a world of uncertainty, ideas and cathartic experiences, the disembodied narrator strives to generate new meanings for himself. Will the voyage undertaken on such a fragile and unstable premise end in awreck, or will it reach a distant shore?

Chiara Cossu, “Frammenti di una nascita”, video, 05’09’’, Italy

Clayton Smith, “Le Gran Objet”, video, 08’59’’, USA

Gabriella Parisi, “Gimme just a Little more time”, video 02’42’’, Italy

Jesús Segura, Sin título 01, video, 09’07’’, Spain

Lucia Flego, “Identity”, video, 04’10’’, Italy

Paula Haapalahti, “the Birdman”, video, 03’33’’, Finland

Paula Haapalahti

The Birdman03’33”

Sometimes I think about what crook of my perception of the world, actually what I see and how blind I am at the things around me What you see contour Are stop and ask myself. What's the story…"? Sometimes we see people and situations as spectators, not thinking "What's behind the story ..." Who is and what he's thinking? Why is here and feed the birds? One can only guess the story or is yourself. What has happened, that is the person, their feelings, fears , happy thoughts and history ... I wonder ... What is the history of white silhouette ... ?

Want to write a story with me? I am collecting stories from around the world to make a story of "birdman...”

Peter Trukenbrod & Barbara Ekström, “The Go and No go nodes”, video, 08’30’’, Sweden

Sasha Litvintseva. “Alluvion”, video, 31’08’’, UK

Toni Simó, “Collapse”, video, 01’35’’, Spain

Toni Simó

TITLE: COLLAPSEAUTHOR: TONI SIMÓRUNNING TIME: 1,19 min.YEAR: 2010 ColourAspect radio: 4:3 and 16: 9 horizontal version

SYNOPSIS:

This work addresses the issues of postcolonial context of tourism, spatial planning and spatial symbolic architecture in the cosmopolitan, multicultural and global resort city. In this case I use a famous skyscraper in the tourist city of Benidorm, Spain.

In this video several symbolic systems are confronted. First, the symbolic sign of the skyscraper that by its spatial and visual impact is imposed on the social individual as a totalizing image. It is a hierarchical and triumphant image. The addition of the tower is an allusion to the triumph of modernist architecture, the machines of living of Le Corbusier and the rationalist city. The second symbolic issue is water, driven vertically, formless, disintegrating any perennial form. Nowadays liquid times de-compose the rigid structures.

Finally the symbolic use of the distortion of language and the arguments of privacy or architectural interiors, argument and discussion. Is the battle between the triumphant rational and functional architecture of the city corresponding to the abstract style international global cities, and domesticity and arguments. The emergence of the human body in the video suggests a fruitless dialogue between stone and flesh, between cement and emotional dissent of a couple.

The narrative of the video is intercepted by the strategy of symbolic deconstruction of the building and plot echoes of the human figures. The building collapses twice by the flow of water and through the reverberations of the human body and emo-tions. The image retained of the vibrant deconstruction of the building and the global city design is the one that collapses to the sensuality of the body, the individual’s emotional discussion and water.

Photography

Carmen Helena Maturana Ruiz

Distance, geometry, a journey, a blessing and one more my love I will wait, are part of a journey between distances that whisper shapes and a silent body within the noise of the image where the light talks in stealth, it glosses between the sides, sets and breaks the space, talks, shouts and gets back to rest : Asserts nostalgia, awaits for its baptism pleased from Cubaluz in confi-dence and its multiplied light which plays projected and if plays one melody ignoring the inert, I disappear and dance I become, you are, and on the far there I see you, I found you”.

Carmen Helena Maturana Ruíz, “Oriente” from the series LA CUBALUZ, digital B&W photography, matt print, 33,5cm X 22,5cm, 2014, Colombia

Carmen Helena Maturana Ruíz, “En el nombre” from the series LA CUBALUZ, digital B&W photography, matt print, 33,5cm x 22,5cm, 2014, Colombia

Carmen Helena Maturana Ruíz, “Desaparezco y danza soy” from the series LA CUBALUZ, digital B&W photogra

phy, matt print, 22,5cm X 33,5cm, 2014, Colombia

Carmen Helena Maturana Ruíz, “…Más yo mi amor, espe-raré” from the series LA CUBALUZ, digital B&W photogra

phy, matt print, 22,5cm X 33,5cm, 2014, Colombia

Carmen Helena Maturana Ruíz, “De Camino” from the se-ries LA CUBALUZ, digital B&W photography, matt print,

22,5cm X 33,5cm, 2014, Colombia

Carmen Helena Maturana Ruíz, “La CUBALUZ” from the se-ries LA CUBALUZ, digital B&W photography, matt print,

22,5cm X 33,5cm, 2014, Colombia

Carmen Helena Maturana Ruíz, “Te busco, Te encontré” from the series LA CUBALUZ, digital B&W photography, matt print,

22,5cm X 33,5cm, 2014, Colombia

Constanze Kratzsch, Untitled 1, from the series “Short Story”, digital photography, 20x20 cm, Germany

Constanze Kratzsch, Untitled 2, from the series “Short Story”, digital photography, 20x20 cm, Germany

Constanze Kratzsch, Untitled 3, from the series “Short Story”, digital photography, 20x20 cm, Germany

Constanze Kratzsch, Untitled 4, from the series “Short Story”, digital photography, 20x20 cm, Germany

Diana Maria Molina

The title is a game of words: memory, I was dying, the forgotten as death and the death itself always facing the erotic drive.

The body in the memory is a body of fragments, of gentle textures, of tactile suggestions, of singular details, of humidities that last.

The series is made up by very narrow plans on which the fragment expands as an erotic landscape.

Diana María Molina, Memory 1, from the series “Detalles que enamoran”, digital colour photography, digital print on matt adhesive vynil, 30x45 cm, 2014, Colombia

Diana María Molina, Memory 2, from the series “Detalles que enamoran”, digital colour photography, digital print on matt adhesive vynil, 30x45 cm, 2014, Colombia

Diana María Molina, Memory 3, from the series “Detalles que enamoran”, digital colour photography, digital print

on matt adhesive vynil, 30x45 cm, 2014 , Colombia

Diana María Molina, Memory 8, from the series “Detalles que enamoran”, digital colour photography, digital print

on matt adhesive vynil, 30x45 cm, 2014, Colombia

Diana María Molina, Memory 4, from the series “Detalles que enamoran”, digital colour photography, digital print on matt adhesive vynil, 30x45 cm, 2014, Colombia

Diana María Molina, Memory 5, from the series “Detalles que enamoran”, digital colour photography, digital print on matt adhesive vynil, 30x45 cm, 2014, Colombia

Diana María Molina, Memory 6, from the series “Deta-lles que enamoran”, digital colour photography, digital print on matt adhesive vynil, 30x45 cm, 2014, Colombia

Diana María Molina, Memory 7, from the series “Deta-lles que enamoran”, digital colour photography, digital print on matt adhesive vynil, 30x45 cm, 2014, Colombia

Giovanni Di Rosa, Untitled 1, from the series “Humari-no”, digital photography 10x15 cm, Venezuela

Giovanni Di Rosa, Untitled 2, from the series “Humari-no”, digital photography 10x15 cm, Venezuela

Giovanni Di Rosa, Untitled 3, from the series “Humari-no”, digital photography 10x15 cm, Venezuela

Ilana Sancovschi, Untitled 1, from the series “Trans-parentes”, digital photogrpahy, 39x34 cm,

Brazil

Ilana Sancovschi, Untitled 2, from the series “Trans-parentes”, digital photogrpahy, 39x34 cm,

Brazil

Luisa Fernanda Tamara Guerra

F R A G M E N T SAn assembly of matter of existence

Cuba has left me fragments. I have wanted to cut the Havana. I slept. I thought. I thought all day on colour associations, in relationships that I can create when composing art. I see something yellow in the clothes of a woman and the same thing on the facade of a house. I see a pale pink and it’s contrast with brown skin, with the light that falls and the white frame.

I am particularly excited with the appropriation with which people create their identity around things, with the recursion that ends up in a collage of matter and moments that intentionally or not, produce an image of identity. The work on the facade is something that is made with the same hands, an event that requires of the army of search of elements, its mental disposition in the vertical plan and the after consecution of that which is required to show in the street, the peasant, the atmospheric time. The same process happens in the photographic creation.

This is the reason why I have created a body of work oriented by those interests, where the outcome is something of complete simplicity, expressive through its polychromic, full of textures, future adaptations, one thing with which humans inhabit in the inside and outside and begin to relate to their lives. It is an assembly of matter existence.

M E M O R YNeeds of the soul

The memory is nothing but through the matter. The memory that I built around my experience in Cuba becomes matter throu-gh one journey. Pineapples, leaves brown colour, instant photos, collages, text. The photographic work that I imagined gained strength with the continuous reflection around fragments, a process of thought that requires leaving a stain in one valuable object.

There, inside this innocent little book are my head, my worries, the pieces of The Havana I wanted to steal, memories, deep thoughts, loving memories. The diary is my memory, the memory of assembly, of the coloured spaces and linked humans. The memories of everything, memories of nothing, memories and needs of the soul.

Luisa Fernanda Tamara, Alimento, from the series “Frag-mentos”, digital colour photography printed on ceramic, 24x35 cm, 2014, Colombia

Luisa Fernanda Tamara, Azul, from the series “Fragmen-tos”, digital colour photography printed on ceramic, 24x35 cm, 2014, Colombia

Luisa Fernanda Tamara, Cabello, from the series “Frag-mentos”, digital colour photography printed on ceramic, 24x35 cm, 2014, Colombia

Luisa Fernanda Tamara, Conocimiento, from the series “Fragmentos”, digital colour photography printed on ce-ramic, 24x35 cm, 2014, Colombia

Luisa Fernanda Tamara, Gris, from the series “Fragmen-tos”, digital colour photography printed on ceramic, 24x35 cm, 2014, Colombia

Luisa Fernanda Tamara, Luz, from the series “Fragmen-tos”, digital colour photography printed on ceramic, 24x35 cm, 2014, Colombia

Luisa Fernanda Tamara, Rosa, from the series “Fragmen-tos”, digital colour photography printed on ceramic, 24x35 cm, 2014, Colombia

Luisa Fernanda Tamara, Turquesa, from the series “Frag-mentos”, digital colour photography printed on ceramic, 24x35 cm, 2014, Colombia

Mario Londoño, Viuda, digital colour photography, digital print on opaque Kodak paper with methacrylate application, 50x140cm, Argentina

Maristela Colucci

It’s raining red people (and i feel good)I’ve been traveling for a thousand years.And i started seeing red people.When I am alone exploring the wilderness they fall from the sky in a very gentle way.At first I tried to establish a conversation but i soon realized that all they do is smile.In the shiniest way.And that makes me feel hopeful.

Maristela Colucci, Untitled 1 from the series “It’s Raining Red People” (and feel good) digital photographt, 40x26 cm, Brazil

Maristela Colucci, Untitled 2, from the series “It’s Raining Red People” (and feel good) digital photography, 40x26 cm, Brazil

Christian Salablanca

Ortopedias # 3 is part of a series of proposals that react to various socio-cultural issues, linked to Guararí-La Milpa area; these are a set of pieces that give a discourse about the violence gangs use as an instrument to perform power, to which, a concept that comes from anthropological studies to analyze this violence phenomena, has been applied; this concept is faunalization, a word that has been used as a mechanism to create discourse, reflection and link it with the public through the image of the animal in different visual art proposals.

These images have been proposed with the intention to reflect on the violence used as an instrument by the groups to perform power, using the concept of faunalization as a mechanism to get into the injurious act through rhetoric elements employed from the animalistic (animal as a symbol). The idea of this proposal is to get the spectator closer to sensorial and percepti-ble experiences through the use of materials, formal solutions and their respective mounting on which one can argue, that a visual proposal through the four strategic principles can give a discourse on this: to destroy the threat, find through injurious mediums the desired, to acquire respect in a determined area and to find some sort of power, even if it is imaginary; these are strategies that make this phenomena the tactic to service personal power. Therefore, the project pretends to create one interpretation of the injurious surrounding media and its relation to the effects, on which one can create other sort of images, not mediated, which really dislocate the spectator’s perspective and drives it through the reflection of the complexity of vio-lence, its ways of representations and subjectivity from those implicated.

Christian Salablanca, Ortopedias #3 from the series “Ortope-dia”, plaster and gauze bandage, 12 x 5 x 4 cm, 2013, Costa

Rica

PERFORMANCE

David Agudelo-Bernal

UNMUTING SELENE is an aural exploration on ritual and political and cultural aspects around the moon. Making a hybrid be-tween temporary properties, cyclic and influencing of our natural satellite that have been represented in mystic meanings to humanity and the historically famous image of the man ob the lunar surface planting the American flag. This performance covers the audio improvisation with looper, sounds of audible actions based on the body and electronic cyclic sounds with pro-cessed vocal interpretation from Star-Spangled Banner and one video projection in loop.

David Agudelo-Bernal, “Unmuting Selene”, performance, 23 min, 2015, Colombia

Ikaro Valderrama

TENGRI: Memories from the sky

The experience of a nomadic memory through an interwoven of sound, dance and poerty, siberian singing and ancestral exhoes from Andes Mountains.

Ikaro will play traditional instruments from Central Asia and South America, singing and reciting poetry in multiple languages, as in a remembrance of the ecstatic connections between the human and the sky: between the Earth and the Khan Tengri.

Ikaro Valderrama, “TENGRI: Memories from the sky”, performance, 20 min, 2015, Colombia

Milena Gutierrez Caro

Wrap of the Unforgotten

It is about the action with participation from the public for which the performer has previously collected items from different people on the street, each object has a symbolic personal meaning; each object evokes the memory of an individual happe-ning.

The performance is about building a net inside the exhibiting space, between two walls, the action of knitting memories of the “others” with the objective of pointing at what is important to Colombian society when it comes to building collective and inclusive memory, a historic memory that is built from the individual, of hybrid character, traumatized, passionate, etc... But it is finally a memory that influences the collective construction of identity for one society.

Milena Gutiérrez, “Urdimbre del No-Olvido”, performance, 45min, 2015, Colombia

Alec Von BargenWeb: http://www.alecvonbargen.com

Alexandra AnikinaWeb: www.red-in-blue.com

Chiara CossuWeb: http://www.chiarac.it

Clayton SmithWeb: www.binaryONTOLOGY.com

Gabriella ParisiWeb: http://www.gabriellaparisi.com

Paula HaapahtiWeb: http://www.facebook.com/paupauprojects

Peter Trukenbrod & Barbara EkstromWeb: http://www.barbaraekstrom.se/ http://www.trukenbrod.eu/

Sasha LivintsevaWeb: http://sasha-litvintseva.com

Carmen Helena MaturanaWeb: www.behance.net/carmen-tea

Constanze KratzschWeb: http://www.constanze-kratzsch.com

Giovanni Di RosaWeb: http://www.behance.net/dirosagio

Maristela ColucciWeb: www.maristelacolucci.com.br

Christian SalablancaWeb: https://christiansalablanca.wordpress.com/curriculum/

David Agudelo-BernalWeb: http://www.davidagudelobernal.com

Ikaro ValderramaWeb:http://ikarovalderrama.com/videos-ru.html

Milena GutierrezWeb: http://milena-gutierrez-caro.blogspot.com/

Hybrid Memories | Memorias HíbridasInstallation, Performance, Photography and Video Art14 January to 13 February 2015

Bogotá Arte Contemporáneo BAC GalleryDirectorLorena Parada

Copyright © Bogotá Arte Contemporáneo BAC GalleryCopyright © Text: Luca Curci, the artists, Bogota Arte Contemporaneo BAC GalleryCopyright © Images and Photography: The artists, International ArtExpo

Bogotá Arte Contemporáneo BAC GalleryCarrera 7 # 57 53Tel: + 57 1 3106998www.bogotartecontemporaneo.com