UNTIL SUNDAY 19/11
CARME CENTER. Museum, 2
Of Leda and Judith between Venus, nymphs and other Eves. It is the title of the work in which paloma navares captures iconic female representations of Dürer and other recognized totems of art history in fluorescent methacrylate tubes. The idea is to dismantle the myth, review the canon and reflect on the use of the image of women (naked) in Western art appropriating works or fragments of them. Navares works on iconographic images of the past, applies new technologies, plays with space and light (very important!) and uses methacrylate, cables, sculpture, photograph, video and audio to find enigmatic and poetic interdisciplinary works. But it also uses other everyday industrial or manufactured items such as bags., shelves or curtains, these last, made of photographic cutouts on transparent paper that evoke the Rwandan genocide or the beauty of Japanese cherry trees. Japanese culture permeates some of its proposals, For example, en forma de Nüshu, a writing system that was created exclusively for use by women. Navares resorts to sarcasm to criticize the strict canons of beauty that pressure people to seek perfection to women who today can be faked and made to measure. For sample, the iconic mannequin Millennium, from the heart to the artifice. The dictatorship of aesthetics is an important theme in Navares' career, so is the cyborg future we are heading towards, collected in an installation made of translucent drums that project from the inside babies taken from paintings of the Virgin and Child, a reflection on artificial nature created in the laboratory. caged beasts, flowers and dreams roam the exhibition of an artist who began to analyze the socialization and symbolization of women in the seventies of the last century. S.M.
