The exhibition took place from 5-22 April 2019 and opened with a reception on 5 April 2019.
Participating artists were from Colombia, Belgium and the UK.
ARTISTS
The following texts of the exhibition are a mix of the own words of the artists and the words of Parce. Therefore, they include individual appreciations of every artist and the perspective, thoughts and dialogues that the Parce Director found while organizing and creating this exhibtion.
Leyla Cárdenas (COL)
Title: Interpretation of Deep Time. (first try)
Year: 2017
Technique: Mono-canal projection. Blue ray, sound. 6 min.
Format: Variable
Credits:
Sound Composition: Melissa Vargas
Camera: Juan Carlos Pilonieta, Bárbara Santos
Post-production: Bárbara Santos, Laura Imery
Thanks to: Clemencia Echeverri, Andrés Gaitán, Guillermo Santos, Ramón Villamarín, Ingrid Raymond.
The notion of deep time confirms that it is in the space where the value of time is stored. The beautiful quote: “In the presence of eternity, the mountains are as transient as the clouds” attributed to Ralph Ingersoll, well known public speaker of the 1930’s. The essence of this quote is found in the Qur’an, (Sura 27, Aya 88). Using the antipode as a geographical metaphor the camera "reads" slowly through the stratigraphy of an eroded mountain, making a parallel between a "geological construction" and a "human construction". What you see upside down is a rammed earth wall found in a state of ruin near the outskirts of Bogotá. The second text as we go across the ground: "this world with all its details has been elaborated and annihilated, and will be elaborated and annihilated: infinitely" comes from Borges quoting Hume.
Title: Re:weave (white ghost)
Year: 2017
Technique: Unweaved dye-sublimated polyester silk
Format: variable
The images on the fabrics, document some of the traces left by old buildings that the artists documents from different places she visits, in this case there are some details of the quarry of Maastricht. The intention is to un-weave a specific space which depicts as well different temporalities and states of the matter. The process pretends to unweave or unravel accumulated layers of time in a non-linear way. Somehow the image and its ghostly materiality becomes a palimpsest that superimposes and blends past, present and future of that space transferred in to the veil.
Cárdenas installation, sculpture, mixed-media work delves into urban ruins and cities landscapes as indications of social transformation, loss and historical memory. Remains, fragments, discarded structures, are used as material for her work, with a sculptural strategy that is as much destructive as constructive.
Recent projects include: Cuenca Bienal in Ecuador: Estructuras Vivientes in 2018. In 2017 her work Excision was part of the exhibition Home-So different, So appealing; shown at LACMA as part of Pacific Standard Time: LA/LA del Getty and at Museum of Fine Arts Houston (MFAH). As well in 2017 she participated in the California Pacific Trienal -Building as Ever- at OCMA (Orange County Museum of Art).
Cárdenas work can be found in public and private collections in Colombia, South America , Europe and throughout the States.
Sonja Geens (BEL)
Title: Frozen Memory
Year: 2019
Technique: 7 Painted portraits cast in resin
Format: A4
The painted portraits are cast in resin, as if they were frozen. The work originated from a desire to save, to preserve. To not forget. The inspiration for the paintings came from weathered and faded gravestone photos.
Sonja is a visual artist. She paints with acrylic paint and adapts skinny paint layers with water, sandpaper and resin. She also works with fragile materials such as beeswax, old paper, gauze and antique textiles.
She finds her inspiration in the small and in coincidence, from which she filters images of a shaky reality or of a place in the memory. Her work is sober, monochrome ,vulnerable and dubitable.
Gert van Dessel (BEL)
Title: Kodak Track
Year: 2019
Technique: Series of manipulated photos from 1879, conserved in 12 units
Format: multiple
Series of manipulated photos from 1879, seemingly frozen and conserved in 12 units
Title: Melting Project
Year: 2019
Technique: Wax object melting by warmth, on statue Format: Multiple
Wax object melting by warmth
Gert is a lighting designer and visual artist. He works with synthetic resin and found objects. His nomadic search provides an archive of weathered materials. He manipulates the old findings and combines them with new materials through which he connects past and present. His traditional method of working and extensive material research gives unexpected textures and connections.
Lía García (COL)
Title: Rhizomes
Year: 2016
Technique: Drawings on stone
Format: Multiple
Between the debris of torn down architecture, the artist discovers remains of previously inhabited places. The artist appropriates these pieces and by stripping them from the pattern of the geometric module to which they belonged, she participates in an exercise which tries to give sense to the dissected architecture, disposing them as small fragments of memory.
Title: Drawing Object
Year: 2014
Technique: Drawings on paper
Format: 50 x 50 cm
Lia’s work is a reflection on the city, in which she approaches ruins as a result of the eager expansion of cities. Drawings have allowed the artist to approach to the city: the ruin is the starting point of the drawings, because it contains and is contained in the landscape.
The main axis of Lia's work is to name, number and classify the world starting from a drawing in order to understand it, know it and project it.
Through different series of drawings that she has made, she tries to create relationships that encourage the viewer to read the work not as individual pieces but as a collective that generates a certain concept, and that allows the viewer to organize and reorganize the information and charge it with meaning taking into account their point of view and relating to their own experience.
Her work constitutes a reflection on the landscape, both urban and private. Her drawings allude to that other landscape that does not appear on postcards, that is not portrayed, and that sometimes wants to be ignored and replaced by other more traditional configurations of it.
In this sense, the periphery in her work is a place of exchange that breaks the physical delimitation of "form" or "morphology" and that reconfigures her perspective on her surroundings out of fragments.