Antu�n
Con esta nueva exposici�n personal titulada Hides, Antuan explota el
doble significado de esa palabra como escondite y como piel de
animal, para crear una profunda met�fora sobre el fr�gil estado de
nuestro medio ambiente y la hipocres�a y teatralidad que dominan
nuestras sociedades contempor�neas, mediante las obras bi y
tridimensionales de gran formato, que han caracterizado un segmento
importante de su pr�ctica art�stica.
Cuando entramos a la galer�a, la primera pieza que nos confronta es
La negra, compuesta por un enorme panel en seda negra de paraca�das,
que semeja un tel�n de teatro y contiene seis barriles que sugieren
una ancha tuber�a de petr�leo. Ello, m�s que una reflexi�n, parece
haber sido una profec�a, pues durante el tiempo que dur� la muestra,
el precio del crudo alcanz� y rebas� los cien d�lares por barril. Un
drama contempor�neo que sabemos carente de soluci�n de continuidad
mientras los l�deres mundiales no se decidan a buscar alternativas
energ�ticas serias y sostenibles, ignorando los bajos intereses que
mueven los hilos en este retablo del oro negro.
El d�ptico fotogr�fico Cast y Cast away, analiza los c�nones
sociopol�ticos y religiosos que han moldeado al hombre a trav�s de
la historia. �Qu� engendro se espera que salga finalmente de ese
molde? Cada sociedad tiene sus propias respuestas, de acuerdo a su
sistema de ense�anza, sus credos religiosos, la publicidad comercial
y pol�tica que domine sus medios de comunicaci�n. El espectador
puede interpretar la presencia-ausencia del ser que ha dejado un
vac�o entre el barro y el yeso resquebrajado sobre fondo azul. Bare
Sky significa en espa�ol Cielo desnudo, pero implica una doble
alusi�n l�dica a la sonoridad de la palabra oso (bear en ingl�s) y
la caprichosa imagen de una nube que semeja la cabeza de un oso, que
el artista reproduce dentro de 24 anillas de acero inoxidable
regularmente usadas para los empalmes de tuber�a industrial. Esta
monumental instalaci�n refiere de forma inmanente a los m�ltiples
informes cient�ficos que algunos tildan de alarmistas, por
advertirnos de la cat�strofe que pudiera estar provocando la
humanidad al contraponer desarrollo industrial y naturaleza. En los
mitos de muchas culturas, los animales suelen ser erigidos en
mensajeros, guardianes, consejeros o sirvientes. Aqu�, esta imagen
de la nube-oso nos evoca esta visi�n animista y m�gica de la tierra
abrazada por los abor�genes norteamericanos: “Todo lo que hace el
Poder del Universo lo hace en forma de c�rculo. El cielo es
circular, y he o�do decir que la Tierra es redonda, y las estrellas
son redondas”.
La obra Makaira representa un pez aguja envuelto en tejido de
elastano azul y constituye una met�fora de la silenciosa cat�strofe
que est� siendo provocada en los fondos marinos por la pesca
indiscriminada de especies en extinci�n, la contaminaci�n de los
mares y la crueldad de la pesca deportiva. Similar denuncia subyace
en Traffic —sobresaliendo de doce grandes bolsillos de tela de
cachemira azul prusia—, en la forma de igual n�mero de colmillos de
elefante hechos de resina, que son exhibidos como esos vanos trofeos
que cuelgan junto a la estufa los cazadores del Primer Mundo, luego
de haber dejado manadas dispersas y sangre derramada sobre tierra
ajena. En Red Traffic Antuan s�lo insin�a las formas de un cuerpo
humano bajo el fardo de tela roja elastizada que lo contiene,
permitiendo que la imaginaci�n del espectador sea la que complete
toda la crudeza de lo oculto, al no ser ya animales, sino personas
quienes sufren el tr�fico de sus �rganos. Esta pieza enlaza
perfectamente con Universal Healthcare en la cual el artista recurre
a la crudeza del objeto real con seis muletas que descansan en
bolsillos hechos de tela verde de hospital. Un amargo comentario
social sobre el fracaso del gobierno m�s poderoso del mundo en
garantizar un sistema de salud asequible a todos sus ciudadanos.
Iron Clad lanza una ir�nica reflexi�n sobre el car�cter a veces
arbitrario de los s�mbolos de poder, con un panel de quince
guayaberas cubiertas con p�tina de hierro, que ilustra c�mo la
humilde prenda tradicional del campesino en algunos contextos se
transforma hoy en muro impenetrable o s�mbolo de cierto estrato
social. Finalmente, la escultura-instalaci�n Update nos propone una
oscura met�fora religiosa y medio ambiental a trav�s de esa cruz,
patinada en �xido de bronce, que sostiene un bal�n de ox�geno, que a
su vez injerta sus brazos-mangueras para salvar a la misma cruz.
Asimismo, su pieza de videoarte Peran Tanatos reflexiona sobre el
destino humano, a trav�s de una joven pareja desnuda que se besa
apasionadamente dentro de un sarc�fago. Imagen que coagula
hermosamente los grandes arquetipos del amor y la muerte, Eros y
Tanatos.
Esta muestra nos reafirma a Antuan entre un selecto grupo de
artistas contempor�neos latinoamericanos cuya obra busca constante
motivaci�n en los temas sociales m�s �lgidos de nuestro tiempo. Y
una vez m�s hace honor a aquel aserto que lo defini� como cocinero
de conciencia.
Rafael Lopez-Ramos
http://www.artnexus.com/Notice_View.aspx?DocumentID=19429
Antu�n
With a recent solo exhibit entitled “Hides,” Antu�n explored two
meanings of that word (taking refuge or the skins of animals) and
created an insightful metaphor of the fragile state of our
environment and the hypocrisy and drama dominating our contemporary
societies. The artist did this through large two- and
three-dimensional works that were characteristic of an important
part of his oeuvre.
As one entered the gallery, the first piece was La Negra. It
consisted of an enormous, black parachute-silk panel, similar to a
theatre curtain, which contained six barrels that suggested oil
pipes. More than a reflection, it appeared to be a prophecy, for oil
prices skyrocketed during the run of the exhibit to more than one
hundred dollars per barrel. This is a global crisis with no end in
sight as long as world leaders do not pursue serious and sustainable
energy alternatives and continue to ignore the murky dealings that
ensure the dominance of black gold.
The Cast and Cast Away biographical diptych analyzed the
sociopolitical and religious norms that have molded humans
throughout history. What monstrosity was expected to emerge from
these molds? Each society possesses its own answers, according to
its teaching system, its religious beliefs, and the commercial and
political demands dominating its mass media. Looking at this work,
the viewer interpreted the presence/absence of the being that left a
void between the clay and a broken cast standing in front of a blue
background.
Bare Sky played on the homophones “bare” and “bear” with the
capricious image of a cloud shaped like the head of a bear, which
the artist reproduced with twenty-four stainless-steel rings that
are usually used to connect industrial pipes. This monumental
installation referred to multiple scientific reports that some
characterize as alarmist, warning us of the impending disaster to
besiege humankind because industrial development is set to collide
with nature. There are myths in many cultures in which animals are
usually messengers, guardians, advisers, or servants. In this image,
the cloud-bear evoked the animist and magical vision of the earth
embraced by the North-American aboriginal people: “Everything the
Power of the Universe does, it does it in the shape of a circle. The
sky is circular, and I have heard that the earth is circular and the
stars are also circular.”
The work entitled Makaira represented a marlin wrapped in a weave of
blue spandex. It was a metaphor for the silent catastrophe inflicted
on the sea by the indiscriminate fishing of species on the verge of
extinction, the pollution of the oceans, and the cruelty of sport
fishing. A similar denunciation was highlighted in Traffic: twelve
elephant tusks fashioned from resin emerged from twelve large
pockets of Prussian-blue cashmere. These were exhibited along with
vain trophies that First World hunters often hang near their
fireplaces, after having left groups of animals dispersed and spilt
blood on the lands of the Third World. In Red Traffic, Antu�n
insinuated the shapes of human bodies enveloped under a bundle of
elasticized red cloth as the viewer imagined what was hidden; in
this instance, humans and not animals fell victim to the organ
traffickers. This piece perfectly complemented another work entitled
Universal Healthcare. Here, the artist resorted to the rawness of
the real object by showing six crutches resting in pockets made of
green hospital fabric. This work was a bitter social commentary on
the failure of the most powerful government in the world to
guarantee a healthcare system for all of its citizens.
Another piece, entitled Ironclad, provided an ironic reflection on
the occasionally arbitrary character of the symbols of power. With a
panel of fifteen guayaberas (embroidered mens’ shirts worn outside
the pants in hot weather) covered with an iron patina, the artist
illustrated the transformation of an article of traditional peasant
clothing into an impenetrable wall or a symbol of social status in
another context. Finally, the sculptural installation Update
proposed an obscure religious and quasi-environmental metaphor. It
presented a patinated bronze cross supporting a balloon, which
inserted its arms/hoses in a gesture to save the cross. Similarly,
Atu�n’s video art piece Peran Tatatos was a reflection on human
destiny that depicted a young, nude couple kissing passionately
inside a sarcophagus, an image that beautifully merged the great
archetypes of love and death, Eros and Thanatos.
This exhibit reaffirmed Antu�n as one of a select group of
contemporary Latin-American artists whose work is motivated by the
most relevant social themes in our times. Once again, he confirmed
the description of him as a culinary artist who serves up
consciousness.
http://www.artnexus.com/Notice_View.aspx?DocumentID=19429
