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


 

 

 

 

Copyright � 2003, lopezramos.info
Web design: Natasha Perdomo Bermudez