The Demonstrators (Drowning Bulb), 2012
Tania Pérez Córdova
Following the notion of breaking an object in order to truly experience it, Nina Beier (*1975, Denmark) presents The Demonstrators, a group of artworks that portrays futility as a state of pure presence.
At the core of Beier’s sculptures are images purchased from various stock photography agencies that come from online sources. These found images are then merged with found objects: poster print-outs are dipped in glue and hung to dry on different sorts of objects that constitute the support.
These ensembles, although apparently simplistic, allow a complete merging of sign, support, and that which is signified, although – at the same time – they could suggest a collapse of language, instead of its configuration. They seek recognizable symbolical value while remaining open metaphors, and have the ability to refer to many things, while left to reflect upon their own sense of ‘being.’ While the poster and its object support are firmly glued together, Beier takes an interest in how they remain without an adhesive that cements subject and object together so that the intentional experience is one.
The work Tania Pérez Córdova (*1979, Mexico City, Mexico) is inspired by her interest in the way that the certainty of an object is created and in the relation between vision and conviction. She explores the situation of objects, paying special attention to the way in which they exist. Pérez Córdova does not believe in the autonomy of objects but in their circumstantial existence and significance. A very important part of her work consists in being really close to the production process, where she can closely analyze the materials and the way in which one thing leads to the other, experiencing the invisible content of a work of art through the space between one object and another.
La Trampa, Edgardo Aragón
Edgardo Aragón’s work discloses a series of situations that take place within a specific social context in Mexico. Through the use of narrative and inspired by his own entourage, Aragón stages situations, stories and events that have taken place in his own rural setting and that he has witnessed or learned about, mainly through oral history. His work references a legacy of stories charged with violence and strong social meaning; as a result, he creates very personal works informed by poetic narratives. Every piece in Aragón’s oeuvre encompasses a story that is slowly been told once again; they depict a memory or the presentation of the reconstruction of personal experiences. Through a series of clips and scenes, Aragón constructs his family portrait, now broadly captured on video.
<i>La Trampa</i> (2011), is a 3-channel video installation that documents an airplane’s attempt to land on a damaged and abandoned clandestine landing strip that used to be part of an aerial route for transporting marijuana during the 70s and 80s in a remote town called La Trampa, in Oaxaca (Southern Mexico). This recreation, however, goes back to the original context in which the only witnesses of the airplane’s activity were the few inhabitants that lived in the nearby village -established precisely due to the drug business in the area.
A folk song known from word of mouth by the inhabitants of the town, tells the story of the last plane that ever landed on this site without being able to take off, and it also narrates how the drug dealers burned the plane and fled in order to avoid being caught by the federal police. For this project, the artist asked a local trio (folk band) to perform the song, while a plane -similar to the original one- made a couple of attempts to land on the barely visible landing strip where some pieces of metal and other remains from the original aircraft, still lie around.
Edgardo Aragon @ Art | 43 | Basel
Tania Pérez Córdova
Abril 12 – Junio 16, 2012