Paratext #40: Alba Mayol Curci, Rebecca Close, Erick Alejandro Hernández & Paloma Schnitzer
This name, Paratext, hides a monthly schedule of presentations of artists residing in Hangar of long and short duration, as well as international residencies. In it they present, in different formats, specific projects or parts of their work. The sessions are always open to the public with the purpose of enabling interaction with the artists themselves. In addition, each Paratext has an editor who later publishes his or her impressions of the presentation on this blog. On this occasion the editor will be Lucía C. Pino.
The next Paratext session will take place on Wednesday December 18, at 7 p.m. in the Sala Ricson of Hangar.
Projects will be presented by:
The production of Alba Mayol Curci originates from the conceptualization of writing and drawing understood as primary actions involved in the development of what is called in the Western context psyche, consciousness or subjectivity. She presents her work as an investigation of elements on the margins of a dominant discourse, which can often be found in the poetic, the emotional or the anti-heroic. She places artistic practice in the political milieu by putting it at the service of the possibility of a psychic-militancy, in which taking a stance can occur through notions such as affect, vulnerability, trance or embodiment.
Rebecca Close is an artist, poet and researcher. She co-founded, with Anyely Marín Cisneros, @criticaldías: artistic research; history of science; anti-racism; new media and feminist epistemologies. She is currently working on reproductive control, focusing on the intersection of assisted reproduction technologies and the internet. She is a Research Fellow at the Centre for Art, Design and Social Research (2018-2019); author of valid, virtual vegetable reality (2018, Melita Hume Prize, London); co-dynamiser of Queering Space, London; PhD candidate in Art and Design, Aalto University, Helsinki.
Revolving around overarching narratives such as a car crash or the death of a loved one, his paintings are orchestrations of memories that have been fractured or reimagined in processes surrounding lived trauma. Rooted in traditional image making, his practice intends to disrupt classical vignettes within the genre of painting by inserting personages and spaces that are in flux. His images are populated with figures and amalgamations of figures from his experience in order to explore various simultaneous histories of loss and displacement. Taking cues from the psychoanalytic process, his practice focuses on the unveiling of that which is dormant. Moments of insight play a directional role of the development in each piece, while smaller auxiliary works allow for further exploration into specific themes that delve into the intersections of memory, history, and emotion in relation to personal narrative. Formed by gluing together fragments of painted canvas, these large free form constructions follow familial narratives to generate an immersive experience. This process of quilting images of people, many of whom are deceased or absent, into timeless constructions is ultimately a search for reconcile with the pictured event. The aim is the development of an ongoing investigation into the effects and manifestations of these shared experiences through image making and allegory.
Paloma Schnitzer’s practice is the result of her interest in revising and questioning the images that surround everyday life, focused on the relationship between devices, their functioning in societies and the traces they leave. Her most recent work incorporates to video, spatiality and the mixture of mediums. She works with obsolete video monitors, found objects and uses methods such as repetition, slow motion, analogue and digital errors and soft montage. Her work is of an investigative nature, she is interested in exploring what of the world is taken for granted and generating dialectical relations from there: between spoken languages and technological languages, between the mechanical and the organic, between errors and traces, between the intangible and the material, between the images of the present. Noise frequently appears to reveal the patterns of human presence, the proof of an error, through which it can be traced. The combination of textures and mediums builds in her works an atmosphere of a past that never was or a memory of something that has not yet happened. Although familiar, the images dislodge into a primary perception, then a question unfolds upon them.
Image: Alba Mayol Curci
Supported by:
Categories: Paratext |
