The Spanish, Eugenio Ampudia, accomplishes to visualize art as time, knowledge, space and contemplation in a critical and eloquent way, in his most recent exhibition El Futuro no es de nadie todavía (The Future does not belong to anybody yet) presented on the NC-Arte of Bogota.
If the art would talk with the art and the spaces that contain it would trespass the barriers of the universe and in that way would be able to value our thought, the resistance would talk. The conscience and reflection would be approached as an exhibition that tells, through the pieces, the passage of time in universal interventions. These aspects and different paradoxes that remain latent on the artists and observers’ minds are seen on the recent exhibition of the Spanish artist Eugenio Ampudio, created with the Spanish curator Blanca de la Torre.
Ampudia proposes a nonestablished future, volatile and changeable through the pieces of reflection in relation to the past. For him, “the museums should be more diffusing and less restraining”, beyond being the touristic spot, the invaluable treasure and the space that maintains the social status. Is here where he proposes, through installations and videos, that the audience approach to this institution not only defining it as a space of historic and memorial knowledge but suggesting to the people to open their minds to understand the museum as a place that belongs to them.
Inside the exhibition, we can find pieces that talk about the museum such as Museum and space (2011), with a video that projects a space ship transporting the well-known Guggenheim Museum of New York. Also, the series Donde dormir (Where to sleep) (2008-2016), one of the artist’s most recognized work where he takes over the most distinguished museums of the world to makes a relation and connection with the comfort of the home, an intimate place in which he creates the analogy with the art there found. Likewise, there are other pieces that also stand-out such as Plaga (Plague) (2015), a set of the artist’s invitations that he later turns into insects that wander around the NC-Arte; Huracán y humo (Hurricane and Fume) (2012), where he represents through mists this catastrophe that will end with all, and specifically making allusion to the art and the culture; Impression soleil levant (2007), a space covered with real sand and that projects how the ocean brings to the shore emblematic pieces of the historical art vanguards.
Eugenio Ampudia answers to our interview in relation to that, his most recent exhibition in the city of Bogota:
Why did you choose that title for the exhibition: El futuro no es de nadie todavía (The Future does not belong to anybody yet)?
Together with Blanca de la Torre we wanted to count with pieces from the last eight years and our point of view in relation to the present. We consider that the present is the time where we have to develop our strategies, our battle field, and we had the right pieces to explain that art is a specialized way of communication that stablished an open dialogue with the observer.
Your works usually are in its majority videos and installations. What does this kind of art possess that captured your attention?
Possibilities must of all, the image in movements adds closeness, more complex speeches be developed, more factors intervene and make the observer inhabit the space, creating and intimate atmosphere that benefits a more fluent dialogue.
Why do the events and historical facts are matters of reflection for you?
In some way, my genes push me to a constant approach with the human gender in its total and that includes what already happened. When I reflect in relation to the issues of the past I do it with nostalgia, reviewing them from my point of view in the present that makes easier the new approach, a small gesture can change everything.
What is your point of view in relation to the art’s consumption nowadays?
The consumption of art is developed in an ultra-liberal platform, filled with individuals socially committed that try to create solid and strong networks with the multiple realities that we inhabit, in a constant search for the valid interlocutors that can contribute with new possibilities to this new way of communication.
Do you think that art is an important agent for the social transformation and change?
It seems to me it is a fundamental aspect, it is a powerful weapon to change the world.
Beyond the art conservation that the history leaves, the museum keeps alive the memory of important facts of humanity. Which would be the current meaning that you would give to a museum?
Museums should be more diffusing and less restraining; they should create networks on the society to protect them instead of just attracting tourists.