Track 16 Gallery is pleased to present At the Curve of the World, an exhibition of the work of Mariana Botey, E.V. Day, Anne Fishbein & Laurie Dahlberg, Diana Lopez, Gertrudis Rivalta, Elena Del Rivero, and Sandra Vivas. The exhibition, curated by Pilar Perez, opens at the gallery on September 11 and runs through November 6, 1999. Opening reception: September 11th, from 6 - 8 PM.
Based on a curatorial vision of the art world as open-ended and fluid, rather than fixed in tightly defined categories, At the Curve of the World simultaneously examines the function of an exhibition of women's art, while revealing the work of individuals whose avant-garde practices both utilize and critique notions of gender and the feminine.
That this critical debate continues to engage artists, historians, and audiences throughout the world some four generations after it began, is one of the starting points for the exhibition which includes installations, video, and work that revisits appropriation as a dynamic for commenting on the personal/political axis.
From Mexico City, Mariana Botey uses installation, video and performance to disturb our linear reading of history and time. In Athanor: Sacred Homes, the artist fabricates a spatialized reproduction of an alchemist's tower that functions as a metaphor for that which is "symbolic, codified, and hidden" in our social history.
|E.V. Day's literally explosive installations add a new narrative complexity to feminist art concerned with issues surrounding fashion. The taut wires and graphs that the artist uses to construct her Exploded Couture series mirror the tensions vested in objects' wider associations within society--juxtaposing the iconic with the cataclysmic.||Ann Fishbein and Laurie Dahlberg's installation Weeping Women--close-ups of women caught at a moment of emotional distress culled from international news sources--critiques the media's penchant for situating all human drama in the realm of spectacle. Digitally layered and output as large-format prints, the two-hundred images completely surround the viewer in a powerful onslaught of faces demanding individuation while submerged in a distanced media veneer.|
|In 1994, artist Diana López cut and archived an image from a weekly crime tabloid published in Caracas, Venezuela where she lives. This image of an anonymous woman who met a violent end forms the basis for a series of collaborative works that transform and abstract the initial graphic moment across a variety of domestic objects. For the exhibition, López has created tile works that play with the minimalist grid and trace the trajectory of the violent image from public spectacle to private memory.||Using Walker Evan's photographs taken in Cuba in 1944 as a starting point, Gertrudis Rivalta zeros in on Evan's fascination with the exoticized racial side of Cuban culture, where blacks and mulattos dominate in his images. Introducing contemporary elements in the photographs, Rivalta draws on the images--expanding their emotional register by the touch of her hand and creating nuanced imagery akin to the formal qualities of photographs without the support and distancing of science and technology.|
|Elena del Rivero's Echo of an Unfinished Letter is an intricate and layered record of the passage of time that takes the form of six hundred pages of musical notation paper imprinted with sound waves (the "echo") produced by passing a needle and thread through paper. Visually stunning, Echo speaks--through its formal, emotional and performative power--of the hidden, devotional aspect of longing and creation.||Bombastic and polemical, Sandra Vivas' work is rooted in the paradoxical reversals of the contemporary art scene where the critical legacy and values of the avant-garde come face-to-face with the market-driven world of art as fashion. In video performances and paintings, Vivas confronts the concepts of "success" and "failure"--contextualizing her conflicts and confusion within the art world from the position of a knowing "outsider" inside the system.|
The exhibition is accompanied by a 64-page catalogue with essays by Jan Avgikos, Ruben Gallo, Lynell George, Rita González, Carlos Lizarralde, Daniel Martinez, Kevin Power, and Linda Yablonsky.
Smart Art Press Catalogue