Ausgehend von der Idee des Mythos, des Ursprungs und der rituellen Wiederholung versucht die Ausstellung ‚Remote Control‘, künstlerische Produktionen mit den Prinzipien heidnischer Glaubensüberzeugungen zu verbinden.
Nach Identität suchend erkunden Amalia Valdés und Juan Nazar den Einflussbereich indigener Völker Südamerikas und die Auswirkungen der europäischer Geschichte als Möglichkeit, die Konfiguration des hybriden Mestizen zu verstehen.
Eine Veranstaltung des Institutes für Alles Mögliche
09. – 29. März 2019
Eröffnung: Freitag 08. März 2019, 19 Uhr
Taking as the point of departure the idea of the myth, the origin, and the ritualistic repetition, Remote Control seeks to connect artistic productions with the principles of pagan worship beliefs. In the search for identity, Amalia Valdés and Juan Nazar examine the influence of indigenous peoples of South America and the impact of European history as a way to understand the configuration of the hybrid mestizo.
Amalia Valdés‘ works link Pre-Columbian memories with sacred geometry, order grids, and symmetry. The artist presents a video work, where she restores the symbol of the Chakana, a recurrent figure in the Andes culture that addresses the old connection between the low and the high, the human and the god, the earth and the universe. Through psychedelic and hypnotic repetitions, like a mantra, she harbors a spiritual connection with the cosmos, as a representation of the unifying elements that symbolize a stairway or a bridge between two worlds. For the exhibition, Valdés accompanies her film with a site-specific installation, where mysterious icons are connected by diverse kinds of materials employing intuition and playfulness.
Juan Nazar brings archaeology and iconography together in a series of graphic works of small format that make up artifacts from disparate images. In his work, he classifies urban photography, found objects, and paintings according to their shape and color. In doing so, the artist builds directly from collections and arrangements. Fragmented images and objects set up the basis for a new structure to emerge: a monument, and subsequently, a possible ruin.
As an ethnographic exercise, Remote Control operates with the past and the present through the interpretation of ancient symbols in mutual reciprocity to everyday objects. In a constant duality, the exhibition exists as a juncture between the sacred and the profane: the precise place where human beings seek to find what they cannot see.
Amalia Valdés (Santiago, Chile 1981)
Juan Nazar (Santiago, Chile 1979)