Desembarco
The Clemente Soto Velez Cultural Art Center
New York, 2016.
The future already exists” –The Garden of Forking Paths, Jorge Luis Borges
The May Revolution of 1810 led to a change of mindset for the people of Argentina and had its sequel six years later with the act of Independence. 2016 marks the Bicentenary of that act, which began the construction of a national identity.
Eduardo Schiaffino, argentine painter, founded the Encouragement of Fine Arts Society in 1876, which would later become the National Academy of Arts. He was also the creator of the National Museum of Fine Arts and was its director until 1910. But above all, he was the first cultural thinker of Argentina and proof of that was the endless debate he kept, through critical columns in the afternoon newspapers, with the then Spanish artist and critic A. Zul of Prussia.
While Schiaffino maintained that a policy that encourages the consolidation of an art identity was necessary, his Spanish colleague pointed out that art was what was happening in Europe. This led to a duel in December of 1891.
The press declared: “There will be art and art criticism in Buenos Aires when grapes fall from the sky. It’d be good if this case would not create impersonators. Painters shouldn’t take out blood with their brushes.”
Two hundred years have passed since this forming of a nation and its artistic identity has had spasmodical references. Some achieved fame and recognition, but there’s still a long way to go in the consolidation of an identity. Today, the main characters of the artistic field question through their works the construction of that identity.
Desembarco, intentionally diverse in disciplines, styles and academic backgrounds, presents personal stories so unique and different as each human being actually is.
Adriana Carambia works with the fragility of the support and challenges that so human and material difficulty in her work. Micaela Escudero, calls for the construction of a reality that combines the improvement and repair of the individual memory. Coincidentally, Cristina Portela works with the traumatic memories that devastate and invade the present. Daniel Romano rescues a cultural phenomenon that transverses us as a society beyond religious beliefs and his installation becomes a space for dialogue, prayer, meditation and reminiscence. Beatriz Ruiz is guided by the accidents presented by the paper and its texture achieved with fire.
We found similarities in the concerns of the Argentine artists, in the personal pursuits that are reflected in their works appealing to the media that in each case feels more like their own language. That makes them unique. That makes them one.
Desembarco is Argentina and the future that Schiaffino tirelessly built that now exists. This is contemplated in each of the works of the artists who work building their identity.
Adriana Carambia works with the fragility of the support and challenges that so human and material difficulty in her work. Micaela Escudero, calls for the construction of a reality that combines the improvement and repair of the individual memory. Coincidentally, Cristina Portela works with the traumatic memories that devastate and invade the present. Daniel Romano rescues a cultural phenomenon that transverses us as a society beyond religious beliefs and his installation becomes a space for dialogue, prayer, meditation and reminiscence. Beatriz Ruiz works her paper landscapes with fire evoking memories and visible and invisible scenes. We found similarities in the concerns of the Argentine artists, in the personal pursuits that are reflected in their works appealing to the media that in each case feels more like their own language. That makes them unique. That makes them one. –
Curator, Cecilia Medina