When a Painting Moves… Something Must be Rotten at the MAPR

reciprocal 4stills When a Painting Moves... Something Must be Rotten at the MAPR

From the “everything is possible as long as it isn’t painting” attitude of the ‘90s we have arrived at “everything is possible as long as it is painting.” However, as art critics David Lillington and Benjamin Buchloh have outlined, we have returned to “a new classicism” that manifests itself in the return of easel painting and traditional values; and of which schools such as Leipzig, Dresden, and artists like Neo Rauch and Peter Doig are the clearest representatives. Maybe we should ask ourselves a basic question: what would Velazquez’s artistic practice be like today?

ucstill3 When a Painting Moves... Something Must be Rotten at the MAPR

As we find more and more artists using interdisciplinary approaches in making their work, it has become increasingly difficult to categorize their art as simply painting, photography and video and so we have resorted to using the term “image”. It is this polysemic and de-constructive value of the image which has recently enabled a reformulation of the traditional pictorial techniques, materials, and genres, which, on the other hand, fitted very well in post-modern hybridization strategies.

hfalling bird When a Painting Moves... Something Must be Rotten at the MAPR

Today our ability to access visual information is enormous as is our ability to disseminate it. If most information reaches us via television, Internet, I-phones, video consoles, Facebook, and other mass media, the way in which we manipulate and redistribute images should also be radically new. This sentiment has brought us to a place where the distinctions between the pictorial, the photographic, the performative, and the digital have blurred, generating a sort of “diffused pictorialism”. This in turn dramatically affects how we look at historical images.

sunset blues timwhite still9b When a Painting Moves... Something Must be Rotten at the MAPR

TECHNO-REFERENTIALITY

In order to reference this new reality we could give birth in a speculative as well as practical manner to the concept “techno-referentiality”: a context where painting measures itself against its own history and myths while at the same time deploying interdisciplinary and digital approaches, and where the authenticity of an art work or the origins of the source material are irrelevant.

[youtube http://www.youtube.com/watch?v=MIzXWGcb3u0&w=500&h=405]

When does a painting cease to be a painting? How can we construct a painting that informs itself through the analogue and digital realms? Is a moving painting a perversion of painting? These are some of the questions that the exhibit When a painting moves…something must be rotten!… tries to tackle. The artists in the exhibition work in a formal, literal, or conceptual manner and play with the pictorial as “moving painting”, reformulating such classical genres as still life, landscape, and portraiture.

Participating artists include Alexey Buldakov, Myritza Castillo, Raúl Cordero, Raphael DiLuzio, Chus García-Fraile, Ori Gersht, José Maçãs de Carvalho, Fabián Marcaccio, Enrique Marty, Krisdy Schindler, Sam Taylor-Wood, Mariana Vassileva and Tim White Sobieski.

The exhibition opens November 18th at the Musem of Art of Puerto Rico (MAPR).

Text by Paco Barragán
Images provided by Paco Barragán and the artists

Related posts:

  1. Human Geography at the MAPR
  2. Andrés Mignucci & María de Mater O’Neill, Painting for a Specific Floor
Explore posts in the same categories: Exhibitions

3 Comments on “When a Painting Moves… Something Must be Rotten at the MAPR”

  1. 5am @ Twilo Says:

    dopeness!!!!!!!!!

  2. Miguel Conesa Osuna Says:

    El planteamiento tiene lógica, especialmente cuando el artista busca ir mas allá del concepto de la pintura, el dibujo e inclusive a la fotografía, rompiendo con la estática tradicional y recurre al medio digital para buscar un conjunto de secuencias con consecuencias y causales. La tecnología digital permite construir imágenes que se transforman. Es la confección de todo un andamiaje de eventos en movimiento o variaciones de una misma imagen o composición, similar a lo que hiciera Claude Monet con la Catedral de Rouen donde el artista logra hacer mas de 20 variables, bajo distintas condiciones climáticas y de los cambios de luz durante el día, algo aún mas viable y con resultados mas rápidos se puede hacer con los distintos programas digitales y el alcance de final es mucho mayor. El uso de la digitalización, en este caso de un video, por ejemplo, para adquirir transiciones depuradas o descompuestas de un objeto físico o conceptual es parte aceptable del proceso creativo, pues es el artífice quien desarrolla e impone la secuencia visual que finalmente el espectador va a asimilar o a rechazar. Creo que el concepto ha sido muy bien pensado y proyectado.
    Miguel Conesa Osuna, Artista Plástico

  3. papo colo Says:

    something must be rotten es una metáfora apropiada para
    la isla , el mundillo del arte , el museo y los chachullos de corrupcíon correspondientes……este concepto es mas viejo que mi abuelita, se esta haciendo desde que se invento el cine,
    lo estoy viendo desde los setentas , ochentas , noventas,
    y con el nuevo siglo atraves de la digitacíon, lo pueden ver en comerciales, cine comercial, hasta con adolecentes en(buenas)escuelas de arte, solo en la isla del espanto se muestran conceptos de pasan por nuevos….pa enseñarle a los nativos sofisticacíon atrasada, lo del nuevo classicism se puede interpretar como nuevo clasismo o una nueva envoltura para vender algo viejo…lo curioso de este caso es que ni los curadores ni los encargados conocen el significado de esta frase en la literatura inglesa… en hamlet de shakespere veran como una simple frase como; something is rotten in the state of Denmark, ES UNA METAFORA POLITICA
    como something is rotten in the state of Puerto Rico or the art world
    convirtiendo esta muestra de una estética y provinciana en una política y universal , la gran pieza de esta muestra es obviamente su subtítulo something is rotten.
    Horatio:
    Have after. To what issue will this come?

    Marcellus:
    Something is rotten in the state of Denmark.

    Horatio:
    Heaven will direct it.

    Marcellus:
    Nay, let’s follow him. [Exeunt.]
    Hamlet Act 1, scene 4, 87–91

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