New proof of Life on Earth, East End of London at http://www.hundredyearsgallery.com
‘Edge of The Land’ : Jaime Valtierra, Yuri Pirondi, Anna Burel and Pascal Ancel Bartholdi. From 18th to 30th of June
An exhibition curated by Jaime Valtierra.
The pieces on show are chosen works from specific series from each artist which relate to or speak the language of representation on symbolic, mythical or poetic terms.
“ There is a place where the artist reaches a certain stream of thoughts/feelings, lead by her/his own intuition, with the intention of leaving a tional understanding of the world out of the creative process, reaching the absurd, the incoherent, the fantastic….”
This kind of process can impersonate the artist`s experience of her/his world. It could generate artificial spaces and characters which mask an innermost desire of the artist: that this fiction or representation will contain a degree of the intensity of the “real”, as it is experienced, and therefore transcend its own “fictional” qualities.
It is through this imagining that the creative person re-appropriates for her/himself the rights for a lyrical, humoristic, tragic, etc discourse.
22th June: Film/show reel night curated by Pascal Ancel Bartholdi
29th June: Performance improvisation night hosted by Adolfo Healer, ( Digital and Analog Projectionist ) and invited audio-visual-performative Guests from Magma Collective.
Mnemonic City is exploring the idea of city as a receptacle, taking inspiration from Plato’s Myth of the Cave. The allegory explores the relation of humankind with their environment, questioning what is real and what appearance is. The theme explores notion of identity, fragmentation and the idea of shadow.
The nature of this series of performances is intricately linked to this conjunction of natures by which disparate physical and emotional organized elements construct an image, a common space which becomes an internal metropolis of sensations, a ‘Mnemopolis’, city of remembrance, where ‘anasubstantial’ interconnections take form and language turns back into a primordial sign. This points to the potential/virtual body of what Deleuze and Guattari call “Phase Space”, in this instance, the result of an organic communion of ideas and their ramified manifestations among the performers whose devices interact electrically and electronically during the show. From the concept of the city, Magma moves to the concept of the cave and in doing so triggers a descent into the cave of our latent mind.
The cave Magma explores opens to show the dark motions of the mind traversing territories of ancestral memory having embarked on the ghost ship of mythology. The character of the environment thus reflects the development of the rapport established between the phenomenological process taking place ‘on stage’ and the perceptual response of the members of the public ‘off-stage’ in which these very ‘on/off’ dividing rules become interchangeable and indistinguishable.
Magma’s own artistic evolution defies Plato’s argument, since the work at hand affords the audience a form of knowledge through sensation rather than through the exposition of form as an idea to be unraveled by the intellect. The electrified chamber the performers engineer shows us how the cave can transmute into a lake, the retina of an interior gaze remembering a history in the making.