Gallery 2
Colectivo Sociedad Civil. Perú
Iconoclasistas. Argentina
Mujeres Públicas. Argentina
Viva Laura Pérez. Argentina
Contrafilé. Brasil
Clemente Padín. Uruguay
Colectivo Sociedad Civil. Perú
Lava la bandera [Wash the Flag], 2000
Flags, dimensions variable, and documentary photographs, 45 x 350 cm
Pon la basura en la basura [Put the Trash in the Trash], 2000
Printed trash bags, 75 x 50 cm. with/bag
Colectivo Sociedad Civil consists of a group of artists and professionals working in the field of the visual arts. Their installations in this exhibition address political events in the history of Peru. The actions Pon la basura en la basura and Lava la bandera, which are related to the idea of “political cleansing,” formed part of civil society. The group’s aims include rallying “…the energies necessary for the recovery and defense of our civil rights, which are held hostage.”
Collective map of José León Suárez, 2013
Digital print, 300 x 540 cm
A Brief Outing around the Collective Map, 2012
Powerpoint presentation, 4’38’’
In 2006, a group of artists founded Iconoclasistas, a space for research and for production of collective cartographies and graphics. The group constructs maps and graphic and design pieces on the basis of its research. In addition, Iconoclasistas organizes workshops, encounters, and studies. República ciruja from the Serie Mapas Críticos is a diagnosis of heavily polluted and poverty-stricken areas of Greater Buenos Aires, among them José León Suárez.
www.iconoclasistas.net
Documentary installation, 2003-2010
Wall: Ovillo (Todo con la misma aguja) [Ball of Thread (Everything with the Same Needle)], 2003-2014
Impresión sobre papel, 420 x 415 cm
Untitled. Mujeres públicas, 2014, video, 2’02’’
Since 2003, the Mujeres públicas collective has seized and occupied public space with graphic devices that signal how women are oppressed. They call themselves “a feminist visual activist group” and their aims include “…to condemn and to denaturalize sexist practices and discourses deeply rooted in society…. .” The works presented here explore their project and document its various actions.
Sobrevidentes [Superseers], 2002
Fotografía, 367 x 205 cm
Sobrevidentes [Superseers], 2002,
video, 10’
100 metros [100 Meters], 2003
seven photographs, dimensions variable
The two interventions by the Viva Laura Pérez collective, which is based in San Miguel de Tucumán, featured in this exhibition took place at the beginning of the decade in the context of the sociopolitical crisis in Argentina. Citizens with their eyes covered visited a number of public buildings in the city. The photographs, along with the video and billboard, evidence the group’s sensibility and its use of metaphor in a number of actions. The name was chosen in reference to the idea that any individual can be an agent of change.
Programa para a descatralizaçao da propria vida [Program for a Life without Turnstiles], 2004
Infographics, photographs, texts, signs, posters, comics, newspaper headlines, and onsite writing, dimensions variable
Formed in Sao Paulo, Brazil in 2000, the Contrafilé collective has carried out a number of actions. The one presented here questions concepts linked to social organization. The choice of the turnstile (catraça) as a monument goes beyond the realm of art-activism to act directly on the social fabric. Pursuant to their work, the expression “descatralizaçao da vida” has become commonplace.
Alrededor del mundo [Around the World]– mail art – Add and Pass, twenty-four postcards, 9 x 14 cm. each
Whos Padín?, interactive experience, mail art
24 cuadernillos de 16 páginas y 10,5 x 16,8 cm., c/u.
Juan y María [Juan and Maria], 1988. Video, 10’
Gente en obra: artistas por la paz [People under Construction: Artists for Peace], 1991, Video, 6’29’’
Muévete Panamá [Make a Move Panama], 1990, Video, 6’58’’
The exhibition includes works of mail art because it is an extremely important historical precedent for the region. Uruguayan artist Clemente Padín is a pioneer in works of this sort which communicate events on a global scale. The magazines and cards in the display cases evidence the repercussions of the action. Mail art constitutes a precedent for communication on social networks, the internet, and other emerging forms of communication that generate global platforms for citizens.