Tiempo de lectura: 2 minutos
12.10.2015
La Productora, Santurce, Puerto Rico
26 de septiembre de 2015 – 17 de octubre de 2015
Birth
Ella and El were the first ones, but not the only ones.
There were also all kinds of plants and animals, and water that flowed like a river.
It was perfect. Neither She nor He knew all about Salvatore.
Far away, Fuckinger seemed to grasp the big picture.
It was the shoes that he hated the most. For him they were useless.
Also, Ella & El were designed to multiply and that would cost him
land that he didn’t wanted to surrender and time he didn’t have.
“Slippers,” —thought Fuckinger.
The master plan was looking partially good.
Ella & El deprived of their shoes and being seduced by the casual pink ballet slippers.
“Who doesn’t like Ballet,”—said Fuckinger to himself and his army (thinking of peacocks and swan lakes).
Dancing was not the problem.
If Salvatore didn’t watch everything,
Fuckinger would come out abruptly to make the offer.
But Salvatore always pays attention. His eyes do not blink.
Knowing Salvatore, I think now that He was watching.
But the captain now had a big problem
and it was how to steal their shoes.”
In a simple and almost infantile “two-tone” (Black & White), Morales-Hernández creates stories thorough a prolific process of drawing and continuous graphic ordeal. Arraying digital drawings, charcoal/acrylic paintings and CNC engravings or sculptures to populate his multi-part stories.
Oh (or the birth of the Rocksteadys) is the first chapter of a series of works put in display rediscovering the personal, political and cosmical arena of storytelling and visual representation. Taking into account the challenge to define experience in a global culture, Oh, also is in the words of the author; “the present onomatopoeic condition” and the typological surprise of a simultaneous personal and universal narrative. Oh is also the name of a vector file available in his personal website as part of the exhibition. This as others Morales’ files can be collected, executed and performed in any venue with a set of instructions.
The practice of Ricardo Morales-Hernández (b.1980) consists in representing a personal, political and cosmic narrative. He uses analog, digital and biological media with a main focus in drawing. His works in occasions are fed by participative practices of volunteers on internet, in nomad workshops in Europe or Latin America. Historical relations can be traced from: primitive markings, medieval marginalia, neo-expressionism, concrete art , conceptual and post-digital aesthetics while at the same time questioning the dominant discourses of contemporary art. He deserted studies in Media Arts, Religion and Social Sciences. Had been recipient of multiples residencies, awards and scholarships among them AIR–CPW-Andy Warhol Foundation, National Endowment for the Arts, and the Center for Image Science in Austria. He currently works on San Juan, Puerto Rico.
http://laproductora-pr.com/
http://www.ricardomorales-hernandez.com/
Photo: Raquel Pérez-Puig
Courtesy of the artist
compartir:
23.03.2024
Opinión
Duen Neka’hen Sacchi
En medio de la crisis ética que atravesamos en nuestra región y el mundo entero, expuestos como testigxs del fortalecimiento de la brutalización y la crueldad como elementos que sostienen las democracias fascistas, el curador y artista Duen Neka’hen Sacchi nos comparte su urgente reflexión sobre el contexto argentino.
22.03.2024
Marginalia
La Revuelta
Invitamos a La Revuelta, un espacio, un hogar, un punto de encuentros radicales donde el horizonte de la vida se pone al margen de lo sensible desde el contexto del arte contemporáneo en la ciudad de Guatemala. Cristina, Maya, Fernanda, Jimena, Francis y Vekis comparten con nosotres el marginalia 98.
08.03.2024
Opinión
María Galindo
Aprovecho para pasarte esta bibliografía para el próximo curso sobre feminismo que dictaré en cualquier recinto, esquina, librería, casa autogestionaria o barrio.
29.02.2024
Reportes
Ana Clara Simões Lopes
Con 121 artistas de Colombia, Perú, Venezuela, Ecuador, Bolivia, Guyana, Guayana Francesa, Surinam y Brasil, bajo el título Bubuia: las aguas como fuente de imaginaciones y deseos, se llevó a cabo la primer edición de la Bienal de las Amazonas, misma que contó con la curaduría del colectivo de mujeres Sapukai -que en tupí significa canto, clamor o grito- integrado por Sandra Benites, ex curadora de arte indígena del MASP; Keyna Eleison, curadora y exdirectora artística del Museo de Arte Moderno de Río de Janeiro; Vânia Leal, curadora independiente; y Flavya Mutra, artista e investigadora.
Comentarios
No hay comentarios disponibles.