Más vale pájaro en mano que cien volando (A bird in the hand is worth more than two in the bush)
2018 - Photography (Photography)
35 x 22 inches each
Sergio Rojas Chaves
Más vale pájaro en mano que cien volando (A bird in the hand is worth more than two in the bush) is part of a larger series of pieces developed by Sergio Rojas Chaves in Honduras in 2018 that engages with tourism and in particular amateur-ornithologists that overrun the country in pursuit of the nation’s extreme diversity of bird species. The works include a performance in which artist Sergio Rojas Chaves, dressed like a bird, observes the ornithologists as if they too are birds, another work features an audio recording of amateur ornithologists imitating bird sounds in the jungle of Honduras. This series of photographs was taken during an amateur-ornithologist research trip. The amateur researchers use nets to trap the birds. They then proceed to document the birds, holding them by their legs. Holding a bird without harming it is considered an honorable feat amongst the amateur-ornithologist community.
Sergio Rojas Chaves’s work focuses on contemporary depictions of animals and of plants and affective approaches to biology. It is through this exploration of the role of non-human organisms in our day to day that he attempts to cast new light on the human condition and our interconnected relationships with the natural world. This interest in the way in which we interact with plants and animals has led him to observe birdwatching communities or to study people’s relationships to their house plants with a sort of ethnographic approach that allows him to dig deeper into these relationships.
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His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks...
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His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks...
© » KADIST
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His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks...