Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure. Copper pipes run through the perforated ceramics, evoking the design of an oil purifier. The work is a direct reference to the history of the Peruvian coastal town of Lobitos. The extraction of oil began in Lobitos at the start of the twentieth century, with the arrival of the British oil company Lobitos Oilfields Limited. The infrastructure built alongside the plant included a desalination plant (now defunct), a church, a casino, and a cinema (one of the first in Latin America), all now in ruins. Following a 1968 military coup, the Peruvian government initiated a program of nationalization and the oil fields fell under the control of the state. The Ministry of Defence built a military base on the adjacent land. Soon, a slow decline due to mismanagement sent the town into economic collapse, mirroring the economy nationally. Today one encounters the ruins of buildings left by the British oil company; the debris of what used to be the old military base; and the traffic of surfers that come every year in search of waves. Currently, the oil extraction is concessioned to South American Petroleum Exploration Tech (Sapet), a transnational company funded mainly with Chinese capital. There is also a major investment plan to privatize the town, proposing a transformation of Lobitos into a tourist resort. Destilaciones portrays these different waves of colonialism and the exercise of authoritarian power within the context of a developing country. By tracing economic and political cycles, the artist intends to register the residue of human activity within the landscape. Environmental and social issues are presented in relation to the modern exploitation of resources and localized ancient practices such as fishing and pottery. The three epochs of political domination that have left their mark on Lobitos—European colonialism, the nation-state autonomy, and neoliberal globalization—have all left behind remnants of their failure.
Ximena Garrido-Lecca examines the turbulent history of Peru, and specifically how neocolonial standards are transmitted through the processes of globalization. The artist approaches her works by scrutinizing urban, rural, and vernacular architecture, concentrating on spaces where a mediatory materiality is visible between the specific and the universal. Equally important is the memory of artisanal tradition and the abandonment of rural spaces as an aftereffect of the processes of modernization. Her work insinuates a permanent tension between the inheritance of vernacular culture and the new demands of industrialization, signaling the violence contained in an accelerated transnational economic model in increasingly open confrontation with the protection of the environment, sovereignty, and respect for different community lifestyles.
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For the two-channel work Asking the Repentistas – Peneira & Sonhador – to remix my octopus works Shimabuku asked two Brazilian street singers to compose a ballad about his previous works with octopi (in which he created traditional Japanese ceramic vessels to catch octopi, with a fisherman who took him on his boat to test them out as we can see on one of the channel)...
DSO extends music director's contract through 2031; new album on the way BRIAN MCCOLLUM DSO extends music director's contract through 2031; album of Wynton Marsalis symphony on the way Brian McCollum Detroit Free Press View Comments Detroit Symphony Orchestra music director Jader Bignamini has been given a contract extension through 2031, the DSO’s governing board announced Thursday...
Temps Mort is the result of one year of mobile phone exchanges of still images and videos between the artist and a person incarcerated in prison...
Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...
Second Clockenflap festival this December is ‘a leap of faith’, says co-founder, who promises ‘outrageous levels of fun for all who come’ | South China Morning Post Advertisement Advertisement Performing arts in Hong Kong + FOLLOW Get more with my NEWS A personalised news feed of stories that matter to you Learn more How will December’s Clockenflap festival differ from the March edition? Justin Sweeting, Clockenflap co-founder and head of music, talks to the Post...
The Subtle Rules the Dense is a series of masks/torsos/body plates that Phoebe Collings-James cast from mannequins and then worked by hand...
Mohamed Bourouissa’s “ Shoplifters” Series was created in 2014-2015, in a neighborhood supermarket in Lefferts Garden, Brooklyn...
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A steel clothing rack adorned with turbine vents, Moroccan vintage jewelry, pinecones and knitting yarn, these heterogeneous elements are used here to create an exotic yet undefined identity within the work...