Contemporary Art in the Americas Arte Contemporáneo en las Américas

Nearly Contemporary

Odalis Valdivieso

ArtCenter/South Florida's Windows @ Walgreens Miami, Florida, USA 11/25/2017 – 02/18/2018

Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida

Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida

Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida

Nearly Contemporary is an exhibition featuring a new series of works on paper and wood panel by Miami-based artist Odalis Valdivieso. The project is part of ArtCenter/South Florida’s Windows @ Walgreens program.

Fragments of internal dialogues about the exhibition

Odalis Valdivieso
… On the exhibition

Odalis Valdivieso
To me, an exhibition is specifically defined as an experience—concerning object, subject, and knowledge—that takes the shape of a visual arrangement. Like any experience, it runs the risk of having unexpected results, but it should always allow us to know more than what we already knew about our process. The experience must give us the agency to break-out of the limits of our everyday lives and become an-other within the exhibition for any desired amount of time.

OV
The shift from previous works is present in this show, where a series of faceted representations of humanoid-like or spectral volumes are portrayed at the center of wooden panels and papers. They are opaque and transparent planes caught on rotation, coming from, fragmenting, or going to another transformative stage. They are also forms on a sensitive surface that allows them to contract and expand simultaneously.

OV
I am also thinking on an echo chamber and how these specters sound like within the space. Even though they seem locked, they can still allow language to circulate within the premise of the street sounds.

OV
The works—seen from behind a commercial vitrine—may show as removed from the gallery space. Yet, I think their insertion on a temporal space as such, that is opened up to transients, affect them from the status of belonging to the arts to—perhaps—the one of the visual merchandising decorations; freeing them from the constraints of interior architectures and slow-pace trajectories as well.

OV
I also think that encountering the work unexpectedly—as in this case—transforms the experience of purposely visiting an exhibition at an art venue. The works then, suggest models of democratizing the viewing experience to a larger audience.

http://www.artcentersf.org/

Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida

Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida

Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida

Nearly Contemporary is an exhibition featuring a new series of works on paper and wood panel by Miami-based artist Odalis Valdivieso. The project is part of ArtCenter/South Florida’s Windows @ Walgreens program.

Fragments of internal dialogues about the exhibition

Odalis Valdivieso
… On the exhibition

Odalis Valdivieso
To me, an exhibition is specifically defined as an experience—concerning object, subject, and knowledge—that takes the shape of a visual arrangement. Like any experience, it runs the risk of having unexpected results, but it should always allow us to know more than what we already knew about our process. The experience must give us the agency to break-out of the limits of our everyday lives and become an-other within the exhibition for any desired amount of time.

OV
The shift from previous works is present in this show, where a series of faceted representations of humanoid-like or spectral volumes are portrayed at the center of wooden panels and papers. They are opaque and transparent planes caught on rotation, coming from, fragmenting, or going to another transformative stage. They are also forms on a sensitive surface that allows them to contract and expand simultaneously.

OV
I am also thinking on an echo chamber and how these specters sound like within the space. Even though they seem locked, they can still allow language to circulate within the premise of the street sounds.

OV
The works—seen from behind a commercial vitrine—may show as removed from the gallery space. Yet, I think their insertion on a temporal space as such, that is opened up to transients, affect them from the status of belonging to the arts to—perhaps—the one of the visual merchandising decorations; freeing them from the constraints of interior architectures and slow-pace trajectories as well.

OV
I also think that encountering the work unexpectedly—as in this case—transforms the experience of purposely visiting an exhibition at an art venue. The works then, suggest models of democratizing the viewing experience to a larger audience.

http://www.artcentersf.org/

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