It began in Cabo San Lucas, Mexico. It started similar to a gallery until we learned ways to be more of an artist initiative.
Since it is not an art gallery, there are no fixed artists in PARCE, pieces are not always to sell and projects may vary considerable.
One of the objectives is to show Latin-American art and culture, but we receive artists from all over the world. Artists come at our own invitation, but also through the “TIKKERTJE” project: a project that was initiated as the “La Mancha” project in Buenos Aires, Argentina and continues there and here.
Even the act of peeling a potato can be a work of art if it is a conscious act." ~Joseph Beuys. Ernesto Restrepo Morillo about his work: [I do] one harvest every year since 1992. Since 1992 there are 23 harvests. In these years each harvest has been presented accompanied by texts, images or other narrative and expository instruments to make historical, social or plastic comments, but above all to reflect on our perception of who we are. There you are, as in any harvest: ... an ornament or as an art object, the potatoes of each harvest are exchanged or sold, or become a form of practical currency that starts from the abstractions resulting from "the aesthetics of market economies.
Lumpenproletariat, worker, aristocrat, all in one. To become an artist probably means striving to become foreign to everything. Autonomy and good deals. Trompe l´oeil. All of the artist´s tools are double-edged swords. An artist might sell his soul, but never his time. The artist learns by doing and that means making, everything sooner or later. Only he knows that he does not know (don´t tell anyone). Painting is the artist's only trade, as it is for all those who have been able to make non-painting into a singular profession. The artist´s trade is the art of not working. Luis´s work makes constant reference to painting. The artist´s work is the trade of not knowing any art. Luis´s work makes constant reference to work. The artist´s art is the work of having no trade (…)”.
Fanny's piece is part of a recovery process: her arm was badly broken. She lost her mobility completely and had to undergo surgeries. She had to do everything with her left hand, even though being right-handed. "One could say that the book is a timeline where you can unite the past with the future ... The past are the old drawings that I made a long time ago and the future are the blank pages. With the past you cannot do much (the drawings are already made), however with the future you have the possibility to choose, always from the decisions of the present. You have the opportunity to continue drawing, to continue tying pieces together, to choose what to draw, what to write or to tear of the pages.. Leaving loose threads represents the same: the possibility of continuing to knit, joining pieces, which like the pages are limited: they have an ending, they end when life ceases.”
Laura's work is an approach to how our existence is modeled and defined throughout life by notions of meaning that decide what is considered "reality". She is interested in the way in which subjectivity and our perceptions have been conditioned by instructions, knowledge, prejudices, rites and myths that are rehearsed and apprehended throughout our lives. This is reflected in her work as a poetic in which revelations and concealments make it possible to believe that reality is not as we see it, leading to the consciousness of a reality that does not exist as determined by that consciousness.
A ruin is only a ruin if in the eyes of someone something fell, decayed... There is only a ruin if it is observed, but, independent of the observer, the matter exists.
We always try to make everything more beautiful and friendly in our environment, that’s why we do everything with commitment and love! We put our hands and work on it