1994 Displacements of impermanence, Espais Centre Art contemporani

DISPLACEMENTS OF IMPERMANENCE SPACES CONTEMPORARY ART CENTER OF GIRONA JUNE-SEPTEMBER 1995

The Displacements of Impermanence project is structured through binomials: the full and the empty, the mystical and the everyday, interior and exterior, and inside and outside. The artistic action ranges from the intimate and private space of the art center to the urban and public environment of the city, where the artists place some of their pieces. Ideal frame to establish a link between the artistic content and the place where the piece is located.

Isabel Carballo  S/T

The idea of Isabel Carballo's piece is to merge the work with the space, for this reason, she delimits the space of the centre room with a thread on which is stretched folded cigarette paper that supports itself. This frieze is governed by a piece made of paper and pin heads in the shape of an Ionic capital.

Thus, the area circumscribed by the strip of silk smoking paper causes, due to its subtlety, a sensation of air perimeter since the white colour emanates a vibrational tension resulting from its ability to both capture and reverberate light.

Fernando Prats Christ

The Christ in column by Fernando Prats confirms his desire to experiment with religious themes. The reuse of these icons, in a purely plastic way, changes the way of approaching them by overcoming the idea of self-denial and sacrifice.

In the study for the piece in front of the facade of the church of Sant Martí, he establishes a perceptual game between the floor plan of the church and the fluorescent green polychrome spine, which gives the piece a contemporary component. Fernando Prats has arranged the spine of Jesus Christ diagonally, between the facade and the staircase, to metaphorically present the levitation of the spine of a body.

Tere Recerens S/T Wet soil and newspaper. action

Tere Recarens in the action-intervention Wet soil, after rubbing the floor with glycerin so that it looks wet, lays out newspapers to mark the steps. Papers that signal both the entrance and exit of the exhibition so that visitors, meanwhile, have to wait outside to visit the exhibition. Inside the Tere Recarens room in the action-intervention, she places a life-size image of herself mopping the room.

Tere Recerens Cesar arrives Action

Tere Recarens in the action-intervention César places a flying saucer on a lamppost in the square in front of the centre, from which César - the box that always accompanies the artist - seems to descend.

Rosa Serra Companyia and  My boat makes water

Rosa Serra configures the Company intervention with two inseparable columns of blue polychrome paper. He presents them one lit and the other off, to give two versions of the same reality. Working with blue monochrome papers, the brushstroke of the illuminated column reveals the metaphorical act of energy dynamited by the gesture, but also the pictorial conceptualization where different aspects of the landscape are represented. On the one hand, he talks about his subjective landscape, and on the other, he urgently calls for ecological awareness in the face of man's denaturalization and adulteration of the natural environment.

The flood intervention, My boat makes water ​ that that Rosa Serra carries out on the facade of Porta Rufina consists of placing blue papers on the inside of the balconies, in order to produce an optical illusion of seeing the building flooded. seeing the building flooded.

Lucia Peiró Panlechepapel

Panlechepapel is a phonetic-plastic action that talks about paper as an indispensable element for survival (paper-dress, paper-food, paper-music, paper-power...). For this reason, Lucia Peiró reinforces the idiosyncrasy of paper with two primary elements such as milk and bread. Together, the three make up the life-giving and life-bearing divine trilogy. On the one hand, the human being first feeds on milk (maternal bond) and then on wheat. And, on the other hand, paper is the catalytic element of culture, since it turns the human being into the "homo tipográficus", consumer par excellence of this vegetable support, through which he has tried to dominate the power and culture, printing and visualizing through it the world around it.

Credits:

Curator: Marta Pol Rigau
Photography: Isabel Codina, Patrick Gilbert, Juan Urrios, Toni Vargas, Pep Iglesias and Marta Pol Rigau
Organisation: Espais Center d'Art Contemporani, Girona 1995