May 17, 2017 by Jack Dziamba. New Post Goes Up Every Wednesday.
The Venice Biennial is one of the world’s most prestigious exhibitions. For those of us who are unable to make it to Venice this year, we will look at how Mexico has used the tools of the New Media to make the exhibition accessible to everyone, everywhere.
“VENICE.- The Ministry of Culture of Mexico through the National Institute of Fine Arts (INBA) presents Life in the folds, a proposal by the artist Carlos Amorales with the curatorship of Pablo León de la Barra. This project represents Mexico at the 57th International Art Exhibition – La Biennale di Venezia.
In this edition, México commemorates the first decade of its participation with an official pavilion in Biennale Arte 2017, the most important event to promote contemporary art worldwide.
“To celebrate this special occasion, INBA has selected Carlos Amorales with his work Life in the folds, in which the artist “introduces us to a world where prints, sculpture, music, and cinema combine to give life and form to a new way of looking into reality, which materialize critical thinking and today’s problematics in contemporary art”. (Art Daily)
“‘I have called the show in the Pavilion “La vida en los pliegues’“, a title that comes from a book of poetry by Henri Michaux. I liked this title because it represents the feeling of change that I feel. We must understand ideologies and reconsider them, call into question our way of life. We can’t stay on the path that we have traced up to now. These days everything is theatre, representation, it is almost impossible to find pragmatism and substance here nowadays…” (Interview, myartguides)
“His research processes are complex; they are based in an ample repertoire of empirical methodologies to develop extensive projects that conjugate historical, cultural, and personal references. His practice expands to diverse media such as drawing, painting, sculpture, or collage; as well as performance, installation, animation, sound art, film, writing, among other non-traditional formats.” (Instituto Nacional de Bellas Artes)
Life in the folds of Amorales introduces a formal language that unfolds in a variety of media within the installation. The artist developed a series of compositions that transit from abstraction to an ilegible text, and this, to a phonetic language and to three-dimensional forms that emit music, to converge cinematographically in the story of the lynching of a migrant family.”
“The lynching is an extra-legal collective act in which the folk takes justice in their own hands. In today’s context, a lynching transcends the local specificity to manifest globally through the mediatic space. In Life in the folds, the image of the lynching turns into a metaphor of the global politic situation, where the weakening of the State has led to a society in which justice becomes popular execution. The Law, as the extra-lega justice, operate in the very roots of language, likewise they undermine the notion of truth and common good, exercised by justice. In this sense, the lynching is an archetype of irrational violence that works from other forms of language oblivious to the law, as rumor, gossip and lie.” (Instituto Nacional de Bellas Artes)
The New Media
As you will see below, the exhibition website, produced by the Instituo Nacional de Bellas Artes, Mexico is an excellent use of the tools of the New Media. First, as quoted above, it provides a comprehensive guide to the artist and the exhibition, in clear, and direct language.
Second, the site contains a Press Kit, 9 videos of the exhibition including the accompanying music, 15 images, and an overview of the Venice Biennial and Mexico’s Pavilion. While the website requires some navigation back and forth to the individual elements, the use of the New Media does make the art of the Mexican Pavilion accessible to all. As in many cases, seeing the exhibition here, without the expense, crowds, and the shortness of time, to many, is better than being there.
VIDEO [WEB RES] 10/05/2017