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TURISTA september 13 - november 02, 2013
  • Inmigration Line

    Inmigration Line, 2012

    Collage. Inmigration forms and black paint on paper.

    38 x 31 cm. x 9

  • La estructura que observé desde el suelo. Existe/Resiste

    La estructura que observé desde el suelo. Existe/Resiste, 2012

    Videosculpture. Wooden shoeshine and black paint. Video.

  • Inmigration Line. Detail

    Inmigration Line. Detail, 2012

    Inmigration form and black paint on paper

  • Installetion view

    Installetion view,

  • Huaco. Concreto series

    Huaco. Concreto series, 2012

    Construccion tools, stretcher bars, plexiglass and black paint

  • Influencia 5

    Influencia 5, 2013

    Photographic collage on paper. 120 x 180 cm.

  • Influencia 6

    Influencia 6, 2013

    Photographic collage on paper. 120 x 180 cm.

  • Installation view

    Installation view,

  • Installation view. Turista El Dorado series

    Installation view. Turista El Dorado series, 2013

  • Installation view

    Installation view,

  • Installation view

    Installation view,

  • Installation view

    Installation view,

  • La estructura que observé desde el suelo.

    La estructura que observé desde el suelo.,

     Installation view

  • Installation view

    Installation view,

  • Installation view

    Installation view,

  • La estructura que observé desde el suelo. Existe/Resiste

    La estructura que observé desde el suelo. Existe/Resiste, 2012

    Videosculpture. Wooden shoeshine and black paint. Video.

PRESS RELEASE

 

 

Turist, Alberto Borea’s third  solo exhibition at the gallery, shows persistance in his formal and theoretical approach which is in keeping with his previous work. The poetry of the works themselves are a primary access point, in which time and history have vital importance, based on the his formal speech and the artistical process. For this exhibition it takes advantage of the formal qualities of those building tools, moldings for framing, immigration forms, arquitecture and archaelogy books or wooden shoe shine boxes to continue investigating the materialism of our “civilization’s residues” and, through them, the changes in society, the fragility of our economic model and the imminent on-come of their obsolescence.

 

 Borea reflects on identity and geographic location, developing a biographical cartography of his own experience. He demands the preservation of cultural roots, which are unarmed in the face of the globalising hurricane, and addresses subjects such as criticism of the market and consumption, together with the general problems of art and the artistic object, in relation to perception, communication and circulation. Everyday objects are treated like icons – Huaco, from Concret Series, made of stretcher bars and construction tools, juxtaposing contextualisations: the ancient and the contemporary, technology and the rudimentary; global and local, vernacular and foreign, personal-private and universal; the authentic and the souvenir; the primitive and the speculative; all of them associated with their uses... By these means he recreates a poetic system which alludes to the understanding of basic and spiritual needs of individuals and the search for progress, representing the phases civilizations pass through in their attempt to survive and the role of luck in this development. For this reason Borea also places a standard on migratory traffic, uprooting from a known cultural environment, the feeling of being a stranger and exiled at the same time; The injustice and the inequality, though also the possibilities of overcoming that which opens this breach, never easy nor oblivious to the pain.

 

 In the present proposal we place special emphasis on the phenomena of the tourism and the migratory streams, with all the economical, cultural, social and political implications that they carry. Likewise, main agents of increasing globalisation accelerated in the last century, precisely by the massive characteristics of these flows, and similarly of the transformation of the rural and urban landscape in all their aspects.


   Maximiliano Korstanje states that the link between tourism and radical migration takes root in the perception of a lack in the environment on the part of the ones involved. Whereas for certain specialists in the anthropology of tourism this is a form of alienation and capitalist settling, it is also true that the theories that tourism brings satisfaction of psychosocial needs such as rest, learning and affirmation of status; one and the other are not incompatible. Korstanje also states that we can find out the origin of this social fact in the mythologies of four cultures that shaped europeanism: Greco-Roman, Judeo-Christian, Celtic and German- Nordic. The Sagas and the journey of Jason and the Argonauts, the Greek diaspora, the Jewish exodus, pilgrimages and Christian and Muslim crusades, the campaigns of Discovery, Conquest and Colonization, military campaigns, sometimes of a century or more; evangelical missions; convoys and trade expeditions, the ritual initiation of The Grand Tour, the major population shifts since the late nineteenth century, for economic and political exiles, in a dynamic emigration-immigration-emigration, that continues today…….. It is evident that the movement had, and has a very diverse character and significance; to be a human being was to be a nomad until the time of the Neothilic Revolution,  as the Indians of North America continue to feel, almost until the extermination of the buffalos of the Grand Praries and themselves. A short trip for pleasure is not comparable with a forced move, either permanent or of a long duration for whatever circumstance, what is understood by human transit and the material it gives rise to is determined by the construction and reconstruction of the identities of towns and their subjects, exploiting all possible forms. This is part of the message, it doesn’t exempt the harshness of the artist.

 

 The series Turista – El Dorado, in a glimpse of a tribute and complicity to the project of Fernando Bryce, Turismo – El Dorado – Alemania 98 with that which opens up a rich dialogue, it is a visual manifesto of that shown previously, in what it leaves to be seen or sensed or associated by prior learning and information proportionate to the means of the masses. It is these, certainly, the other crucial and indespensable agent of Globalisation, essential prime material in the work of Bryce, and with a completely different treatment of the videos Existe/Resiste, installed in the videosculptures Lo que vi desde el suelo (What I see from the ground), chronicled in key footage which shows various situations of social unrest which happened in 2012. Some were as a result of the Internationalisation of the ‘Outraged’ Movement; The Arab Spring and mine uprisings in Bolivia and Peru. The latter, were in precisely the same Andean area, very close to the enclaves inhabited by the Incas, today, objectively, they are being converted into archeological sites for the study and tourist exploitation, once overlooked by it’s legitimate inhabitants. It is a fountain of riches, and in many ways figuratively speaking Jewels. This is how Borea treats it, superimposing gold and silver leaf on photographic images, a book with the pages torn out, underlining the objectual nature and the transformation suffered by this place.

 

Transformation of housing spaces equally suggested in the two pieces of the series Influencias (Influences) collages comprising pieces of pages of a book on New York Architecture, which appeals directly to the constant physical mutation of the City, it is the strange subtlety of the profound mutation of The United States Society before the collective hispano push, latinisation that has grown from the 80’s of the last century and the ethnic politicisation. Enormous transcendental events that have knocked down the barriers erected, not always reciprocally received. Immigration Line, are collages made of inmigration forms, that Borea cuts, turned into masks; it is an image of the treatment and depersonalisation that occurs after this, whose completion is compulsory for immigrants of whatever class, including tourists, if we exclude wetbacks and ferrymen.

 

The exhibition, is very complex given the inherant numerous ramifications of the theme of it is impossible to get to grips with the type of event that is taking place in this gallery and to which the artist invites us to gather. Very rich, not only in the readings and reflections, the ultimate intention is that it turns into his ideology, new vertebrates in the transculture and the larger narrative.  

 

Like Mireiles, “he uses the conceptual without renouncing narrative or metaphor, endowing his production with both individual and collective memory” (Ana María Guasch); reviewing the anacronisms and lack of continuity of the historic discourse and the space-time relationship; surpassing the dialectic center- periphery and folkloric exoticisism through globalization and transculturalization, metadiscourse and intertextuality.

 

      IH

 

 

 

 

 

 

 

 

 

  

 

 







 

© 2011 Isabel Hurley