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31.03.2020
La ONG, Caracas, Venezuela
January 25, 2020 – April 17, 2020
En el análisis del pequeño momento singular
Let’s talk about hypocrisy, let’s talk about mystery and what is expressed in silence; the importance of the uneven, the small detail, the twisted and what to say about Angel’s work.
It is imperfect because it seeks perfection. There is movement, understanding and acceptance.
In it there is worry, waiting, inhibition, anguish. What is it? The agony of the last moment.
It’s chaotic because it’s trying to bring intense order. It’s useless because it tries to make sense of it. It is darkness and light, it is love and death, it is fury and filth, it is association and opposition. It is beauty.
—Ángel D. Leiva
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Micropolíticas en escenas
…includes recent works, paintings and drawings of the everyday Marabina scene from the artist’s perspective. Politics in Venezuela is present today more than ever, and its relationship with the economy and society is a product of the forms of government and the behavior of the majority of society; however, individuals are not always consciously doing politics, but doing things like attending meetings, shopping, living the city, disconnecting.
I think that even these acts of daily life have relevance at the political level, that family relationships, our friendships and we as individuals can be advocates of values, we are all the heart of a society and we build from home. We are immersed in a transforming process, even if it is difficult for us to know how to participate in the change and act consciously of being in an historic present.
Through the painting I show the importance that these daily spaces, the meetings and their people have for me, each one with a message that is also part of the history of my region.
—Pedro Medina
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No tengo punto pero acepto Zelle
Irony and contrasts, a world surrounded by constantly changing taboos. This solo show by Jesús Briceño Reyes at the ONG seeks to capture through painting the dualities that Venezuela currently reflects, from the people who inhabit its earthly space to those who miss it on a daily basis. The artist’s objective is to create triggers to reflect or identify the surreal changes that are constantly being experienced.
After several years without visiting the country, Briceño comments: “I was captivated and surprised by the daily context. More than surreal, it is curious. I think it’s a subject worthy of being portrayed and investigated in my plastic work”. My work includes a series of oil paintings; metallic sheets, like those used for religious icons; and very textured endings. Together they are part of the series Luxury goods (awarded) and sketches for a day like today. “We are in a context where the abnormal is everyday and the everyday for us would not be at all normal in other countries,” reflects Briceño on the paradoxical nature of the country’s current context.
—Jesús Briceño Reyes
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05.03.2022
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From January 27 to April 2, 2022
04.03.2022
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Del 5 de febrero al 12 de marzo de 2022 en Unión, Espacio para artistas, CDMX
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The Immovable Tâm Liêu Âm
EXTRACT is an online section where we share some of the texts published by Temblores Publicaciones, Terremoto’s publishing house. We present the sixth extract of this section, LIFEFORCE: Now I Am Become Death, the Destroyer of Worlds by The Immovable Tâm Liêu Âm, published on the occasion of the exhibition The Liquid Gates of Time, presented at the Rubin Center at the University of Texas at El Paso in 2021. This catalog seeks to account for the works produced by “-O-“. Through their practice, the collective exposes the extractive and violent nature of border institutions, as well as the nation-states themselves when it comes to naming otherness and their stories.
30.01.2022
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Hasta el 30 de enero de 2022
