Merrill Lynch 2004: Ephemeral Trends II
Ephemeral/Trends II is a cutting edge exhibit presented at Merrill Lynch ARTEAMERICAS which interprets the spirit of an era where representation has shifted to a new medium and meaning. New icons and images of the perfect contemporary mind continue to emerge incessantly. Contemporary Art in Latin America does not know borders any more. Latin American artists are part of the global world and they produce multifarious images sharing the global spectrum of cultural, ideological, political and social "baggage" that renders new visibilities and questions the insignificant, the private, and the ordinary, away from the "objectified" world of representation. Contemporary artists construct and deconstruct from the mass culture and from the collective platforms.
Contemporary Art deals with a variety of images addressed as an ensemble of metaphors that range from femininity to culture, from nature to the industrial, from aesthetics to kitsch.
On intervention over nature, between the fake and the industrial, the natural and the organic, are the site specific installations of Silvia Riquezes and Guerra de la Paz, who have modified the vision of the garden. In an intervention over architecture, there is the work of Pablo Contrisciani, who has "invaded" and highly transformed the facade of the building. Carolina Sardi presents a biomorphic intervention over the environment. Pedro Vizcaino creates a delirious woman-car made in "papier-mâché", where the grotesque combines with the humorous in a sort of "masculine" toy with a feminine touch. Indoors there are several aerial installations hanging from the ceiling, over the corners of the interior of the building. Ani Villanueva presents a zoomorphic shape made in plastic, spotlighting the power of the industrial and the fake over nature. Lucía Pizani and Hermann Mejía show a magic rubber man as a metaphor for contemporary human beings; Valeria Cordero and Pilita García propose, in a collaborative work, a big "linguistic" ball full of thoughts and ideologies. Nancy Saleme exhibits a sequence of transparent curtains with written messages floating in the air; Cristina Botero shows a canvas with luminous effects and dream-like images of the feminine. Along the same path, Iratxe Larrea proposes a large "towel" as an image of the home. Alejandra Villasmil sets a small sculpture, a sort of oval shape in a nest, as an origin of the primal world.
Guerra de la Paz Nancy Saleme