The calamorro as an object has impacted the practice of this artist. Its functionality has inscribed a seal both from the patrimonial point of view and for the devices currently designed by cultural tourism. These boots, half-round, protected against the gravel and the rough terrain of Calico. This is the case of the calamorros that were used by the workers in different areas of the Tamarugal pampas. Besides, according to the scheme that street work gives off, this artifice has perpetrated in his works the conjunction of plastic with objects that twist the practice of an art shaken by its representation. Thus, by proposing a vision that goes against the well-known pristine nineteenth-century portraits, this artist stresses a series of images that have been fed with the huge changes that the landscape of Tarapaca has suffered. So through these pictorial, installation and illustrative marks, we glimpse other physical and abstract antecedents that have marked the historical vicissitudes of the landscape and its evolution, since we have been involved with a sensitivity associated with what exists, what is represented and, by the way, to the symbolic and the symbolizations of this same desert. With this reading based on the Tarapaca landscape, the artist’s exhibition proposal, entitled “Land of Champions”, raises a series of questions that from new material forms perform the cosmogony of that inert, marginal and parched mood of the desert intending to synchronize a new epistemological perspective. A postcard eaten away by neoliberal logic that uses this landscape as an endless consumer item. Well, by dispensing with that substantivity of the desert we are denying a variety of feelings and perceptions that reduce its stamp to the postal format. This critical profile leaves far behind those artistic ideas that have only shown the naturalistic beauty of the desert and that have strictly omitted the visible deformations caused by the indiscriminate extraction of its minerals. Undoubtedly, the Anthropocene inscribes, from a conceptual logic, a profile that deepens into the conflictive frames that some environments in this region have. Demos has questioned: How does this new era work? Does its discursive framework relate to image technologies, including photographic, video-based, satellital images, those delivered and scattered through the web? How is this thesis of the Anthropocene? Because it remains, for now, a proposal that demands critical evidence, supported or refuted by different kinds of visualisation, and how could artistic-activist practices not only confirm but also provide compelling alternatives to adopt its rhetoric? In this sense, and taking as a basis the difficulties that appear when representing, from art, the reality of a landscape in crisis, we ask ourselves: What is the Anthropocene? To this, we might add what the writer T.J. Given these characteristics, he has designed irreverent graphics within a global socio-political contingency conflicted by the Anthropocene. These issues have been studied by the visual artist Camilo Ortega who analyses, specifically, the origins of over-industrialization in the Tarapaca region. A situation that has brought new imaginaries to the fore, which, for example, contemporary art has recently been revealing. Today, we can confirm the existence of many writings that involve the interstices caused by the dominance of dress created by humans over nature. Therefore, when observing the effects that physical and natural phenomena have produced, we create judgments, from rational thinking to its revelations that define it as such. There is no doubt that the landscape and its unique features have changed remarkably.
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