Hoffmann’s house | Emergency Art

Matucana 100 starts this 2018 with a powerful sample of Latin American art, Hoffmann’s house: New sensitive ones

50 Chilean artist exhibit their materialized looks in works interceding a first interior space that is two shacks, apart from the second interior space that would be the same Matucana 100 storehouse. Also, the exhibition surprises us with a wide selection of Latin American video art.

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The presence of emergency poor housings in the hall comes from the very origin Hoffmann’s house in 1999, when artists Rodrigo Vergara and José Pablo Díaz used this kind of space as a reinvention of the art gallery. Proposing new looks (new sensitive ones) of emerging artists apart from the traditional circuit of art in our country.

One of the pieces that get the tour is Si lo puedo hacer aquí, lo haré en cualquier parte (2006), that consist of a series of drawings that were designed by seventy artists on a nomination sheet of a checking account opening in Banco de Chile bank. With different techniques we see the connection of Chilean politics and bank related images (corruption and Pinochet included) even intimate pieces that benefited this media as a way of advertising and visibility. We must highlight the repetition concept, of copy and original widely used in bureaucracy and also take part of the same physic properties of the document’s self-copyable.

In the screening room are found the audiovisual pieces of 19 Latin American artists, what expands the Hoffmann’s house look to the rest of the continent, from there comes the name’s  game of this selection of videos, The bolivarian dream, and the image of the Latin American national hero. Most of the videos last a substantial length, so to watch them all is an almost cinematographic experience, however, each video are far distant one from another, creating an heterogeneous set of looks.

Some examples are Luna con dormilones (2013) of Pablo Uribe, in which a kind of television climate presenter tries to orally translate issues of the visual language, all of this pointing to a flat color background. The mixture of subjects of the nineteenth century painting, specifically of the landscape gender, with climatic descriptions of the area results delirious at only being conveyed by words. Then we have, the representation of an image through a new media, at the same time that the narrator acts like an intermediation element.

In After Party (2016) of Andrés Parra, we join a unconventional main character, a drag queen that comes back home from a party. What happens in the path is his reverse process of transformation, the metamorphosis from the character to the person. What is thought that happens in the privacy’s home is translated to the public space, to the no place in public transport, to those lost hours in the path from point a to point b.

Fantasma (2015) of Leticia Obeid shows us three love scenes extracted from “The Philadelphia story” film. The artist makes good use of the fragmented situation of assembly to superimpose every scene in different languages, facing the dubbing to Spanish and the original English, stressing on this way the communication and translation issues between couples that the film shows.

Turning main space into one of the pieces that definitely takes the visual space by its monumentality is Las uvas y el viento (2008), these branches that cross vertically and horizontally the storehouse are found overhead floor as if the moment of collision would have been frozen. This piece dates back 2088 and was performed in La Capella of Barcelona space (a fifteenth century church). The installations of the branches were executed with rest of the pruning carried out every year in Catalonia before beginning winter. What we see in Matucana 100 is an updated reformulation of this work, where audiovisual pieces, the installation and the sound art are mixed From this imposing building of branches hangs headphones that allow the viewers get isolated from sound that the building artificially makes through little speakers we listen to some birds singing. In the headphones the album “Todos Viven Lejos 2” is reproduced.

In the space of shacks is where Chilean artists are joined together in order to interfere with this space through different techniques and visual operations. For instance, we have the artist Francisca Sánchez that locate a sculptural object in the center of both dwellings, a kind of cement elbow that emerges from the floor. This organic way seems conflict with the straight structure of the architecture. Cristian Silva writes on this facade: In this house there is nothing/ there is no food in this house, stressing the poor and social origin for what this dwellings were built. Nicolás Orellana creates a kind of parasites that hang from the structure, using materials like signages and steel farming.

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Finally, Hoffmann’s house keep working on ideals or operations with what he started on 90s, this exhibition is an example of that. A mixed set of opinions, relationships, experiences, conversations among work, medium and message. All of this contained in the poorness of an emergency house.

For more information about the exhibition:

Hoffmann´s House | Los nuevos sensibles (The New Sensitives) | Matucana 100 | 03/27 – 05/20

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