August 26 - September 4, 2016
Opening | August 26 | 7 to 10 pm
67 | 67 Ludlow New York, NY 10002
GHOSTS OF TRANSGRESSIONS, curated by Adriana Pauly
What happens when we leave our home? Or are forced to leave? The Latin-American community in the United States has been subject to scrutiny and austerity for centuries, fortifying the connection to the ‘home’ as a way to escape and feel a sense of community. A person’s identity is strongly intertwined with our birthplace, it influences our personality, our sense of self and the way we define ourselves in relation to others. GHOSTS OF TRANSGRESSIONS will examine the idea of identity in exodus through the works of artists Constanza Alarcón Tennen, Cristobal Cea and Felipe Castelblanco.
The title references the transgression of real and fictional borders that takes place in the different pieces.
Alarcón Tennen’s work Blanco 276 III is part of a series of works based on drawings and texts made by the artist, her mother and her sister, recalling her grandmother’s house from memory. The drawings gave rise to the creation of the blueprint for the artist’s sculptural recreation, a physical artifact of a collective memory. The work is accompanied by a sound piece, that is also based on texts written by the three women, which brings the act of remembering to a performative present. Simultaneously, the work examines the limits of collective memory and loss; the mistakes in the account of the past that cross over to the present as a memory.
Cea’s work Ghosts of Concordia addresses the distance and boundary between reported news and the observer. His site-specific video sculptures based on the motion capture data of anonymous people in Newsreels fill this distance with an eerie phantasmagorical presence. “The disembodied presence of the witnesses, unwillingly or unknowingly cast in the collective conscience of images, is re-enacted as ghosts; Boundless, place-less, condemned to perpetually repeat the actions that defined them.”
Driftless by Castelblanco functions as an investigation of geo-political borders by following recent human migratory paths in a make-shift boat for one person. The artist sees “nationhood as a form of contemporary confinement” and aims to cross the borders of land to water and legal to illegal in the video’s fictional narrative. The work becomes a meditation on history and isolation using the open water as a neutral and open stage for performance.