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Mapping Exhibition (III)

In ICTU Oculi. Greta Alfaro

And so photographs Concha Pérez, calling on other pictures in this room own, functioning as a metaphor for what almost a century ago advised Virginia Woolf women who were available for rent and own space to obtain the necessary independence and freedom para acometer la creación.

La dificultad de tejer el discurso expositivo con obras ya producidas implica la renuncia a imágenes pensadas al efecto, y consiste en hacer un ejercicio de asociación que dé sentido a la lectura de algunas fotografías en relación con otras, pero sin alterar el significado de las obras y por tanto utilizar el espacio de la sala como un recurso más, para intentar contar la tesis de la exposición.

Por ello considero importante lo que los visitantes encuentren al acceder a la sala. He seleccionado dos videos como preludio, In ictu oculi y Estudio sobre el umbral III, interrogando al espectador sobre el espacio físico y el simbólico. Both works question the limits in representing the real world, either landscape or landscape mirrored copy. In

of ictu oculi Greta Alfaro (IX prize for photography of The Cultural 2009) becomes a real landscape Fitero-Country, Navarra, in a Baroque vanitas.
The peaceful landscape is transformed in the twinkling of an eye, at a banquet for the dead. The real world lies a dark flutter of promises. Sweet smell of corruption.

Study on the Threshold of Zoé T. Vizcaino ( PROCESSES Award Foundation's 2008 Art and Law), also hides a surprise, a blow the reflection in the mirror, a broken image bankruptcy ways to transform the abstract concrete stains that with the passing of time, recover and regain the quiet ways.

have some of the strange land of Axel Hütte, but when he talks about his work says I want to catch the reality that there are between the lines, which has never been captured, to be me who caught his first time image. But the intention possession is the threshold images, nor is the rest of the photographs in the exhibition.

Studies on the Threshold. Zoe T. Vizcaino

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Mapping Exhibition (II)

Concha Perez. Alicia, 2006

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Respecting the theme of the seminar, I began to wonder whether there were differences in the representation of space between genders and I find looks masculine and feminine interpretation of space, landscape and territory.

For example, in two groups consisting of photographers de ambos sexos y que trabajan sobre el paisaje, los Becher y Bleda y Rosa , la mirada dominante es la del varón. Una de las grandes discípulas de la Escuela de Düsseldorf , Candida Höfer , cuyo trabajo se centra en el registro de interiores o espacios públicos, tiene mirada poderosa, grandiosa y dominante.

Cuando comencé a pensar en fotógrafas para ir seleccionando los trabajos que interpretaran la vivencia del espacio, las primeras imágenes que me asaltaron fueron las de Concha Pérez . En una entrada de este blog en septiembre de 2009 ya había marcado diferencias en el tratamiento del espacio among the works of Candida Höfer and of this photographer.

The German photographer is a conquest of space, a takeover, complete control of light, while at work Concha Pérez, having created the space, it is transformed into a space of uncertainty . Everything in the former is clear in the second is doubt, question, questioning, reflection.

is why, the image taken as the motto of the exhibition is R eflejos . The silk threads have been weaving the speech are as entangled in the soil of this picture.

The concept of space is a coordinate philosophy to which different meanings have been added along civilizations. Philosophical interpretations ranging from the matter (full, self) and space (emptiness, not to be) or by fusing the two concepts or distancanciandolos.

iconographic representation of space is therefore a position before the world.

Reflections Photography explains this position in the world from a gender perspective, in a subtle and quiet. The light helps to create the architecture, the boundaries of the room and this coincides with the treatment of light in Candida Höfer: But in the end a space is not just a certain light at a specific time.

Candida Höfer. Österreichische Nationalbibliothek Wien VI, 2003

In the room there is a mirror reflexes and a window lattice is reflected in it. According to dictionary definitions of symbols of Cirlot the mirror is a symbol of imagination and able to reproduce the reflexes of the visible world in its formal reality . Addition Moon has a character, and therefore associated with the feminine. And next to it, represents the multiplicity of the soul, and therefore the access door on the other side.

And access to the other side is another chosen picture Concha Pérez, Alicia .

and what he found across

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Mapping Exhibition (I)

Concha Perez. Reflection . 2008

The assignment of an exhibition of photography has allowed me to reflect on the representation space from the picture to talk in images on the theme proposed for the IV Symposium of the Permanent Seminar of Literature and Women (XX and XXI centuries) from the UNED : The physical and symbolic space.
An art exhibition is a process while a content. From the Documenta 12 enshrined the curatorial role as a creative function. The centrality of the speech of Commissioner requires the preparation of a thesis and show the different parts, not only as an exhibition of works more or less beautiful, but because they are works that construct a narrative. The curator's task is to build the exhibition 'counting the pieces and works of art selected for that purpose.
An exhibition can be a laboratory, something living, dynamic, seeking to question the viewer, and construct a story based on the exhibition space and the work chosen.
The first criterion was that the artists were women, and he wanted to show what could be called from a gender perspective in the treatment of differentiated space that used to see widespread adoption in the picture.
The second approach, emphasizing the gender perspective, as a dip and we act as if the visibility of women in art to be an issue overcome and an old debate. Lastly
adjustment to the topic of the symposium that was the one who made the proposal to establish a connection between the purely literary and iconographic.
think the title of the exhibition: A separate room has been the thread that led to the selection of works reflecting and contributing references and signs which can recognize and define the moment of the photograph shot by women and deal of space and landscape.
are 17 women photographers most of them born in the years of the English transition, between 1974 and 1982: Veronika Márquez, Rosa Muñoz, Amaya Hernández, Linarejos Moreno, Carme Casulá, Lola Guerrera, Lourdes Carcedo, Barbara Fluxá, Isabel Stems Greta Alfaro, Soledad Córdoba Olga Simon Vizcaíno Zoé, Concha Pérez, and Arantxa Bootes, and Maria Lucia Morate Platero.
is only fair to note that an exposure of this kind does not go forward without a major professional team who works, non-profit organizations throughout the project. It would have been impossible to do all this and get these results without a team that has worked perfectly, but mostly by the generosity of the seventeen artists who have loaned their works for exhibition.
In the next post I will presenting the work of each, until March 8, when the opening in the exhibition hall of the Faculty of Fine Arts the Complutense.

Exhibition Hall of the Faculty of Fine Arts