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LARMAGAZINE.014Best of. Part 2 No014 · jul aug 2014

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DIRECTOR / ADVERTISING Catalina Restrepo Leongómez [email protected] EDITOR / TRANSLATOR Daniel Vega [email protected] ART DIRECTOR / DIGITAL PRODUCTION Judith Memun [email protected] EDITORIAL ASSISTANT Daniela González [email protected] WRITER AT LARGE Emireth Herrera [email protected]. Contributors Marisol Argüelles, Carlos Pérez Bucio, Octavio Avendaño Trujillo, Sandra Calvo, Pedro Ortíz Antoranz, Plinio Villagrán Galindo, María Arregui, David Gremard Romero, Daniel Vega, Homero V. Campos Reyna. Aknowledgments Gonzalo Ortega, Roberto Pulido, Anakaren Flores, Juan Vazquez, Neo Estrada. Photography Courtesy of the artists, Romina Hierro, Museum of Contemporary Art of Monterrey MARCO, Adriana Salazar, Jorge Carrera, Alice In Chains Facebook page. Video Adriana Salazar, Mauricio Novelo Jarque. FOUNDERS Catalina Restrepo Leongómez & Judith Memun.

Carlos Castro, Belleza Accidental, 2013

Best of. Part 2 No014 · jul aug 2014

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"INTERPRETATION IS THE REVENGE

OF THE INTELLECTUAL UPON ART"

SUSANG SONTAG

Editorial The Best of

Article Interview with Paulo Licona on

his Project “Skatepark”

by Catalina Restrepo Leongómez

Artist Portfolios Adriana Salazar

María García-Ibañez

Carlos Castro

Mateo Pizarro

Marisol Maza

Jimena Rincón

Article The Emperor’s New Suit

by Marisol Argüelles

Recommended thingworld

International Triennial of New

Media Art 2014

National Art Museum of China

Beijing, China

In/humano

Museum of Contemporary Art

of Monterrey, MARCO

Monterrey, México

Article Variations Upon the Same Subject

by Octavio Avedaño Trujillo

Special Guest Some Thoughts on the Work of

Margarita Leongómez

by David Gremard Romero

Music The Return of Alice In Chains

CONTENTS

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EDITORIAL

Did you read the previous issue? It is really exciting to see what can be done today with a digital publication, specially what it of-fers to a discipline so rich in visual content as contemporary art. This format opens up many possibilities in terms of archive and presenting the register of art pieces. I believe that in this moment of history, our daily and routine activities are directly related to the gadgets we hold in our hands. In just eight years, advances in mobile phones and social networks have completely transformed the way we receive and transmit information; in this generation we witnessed a gigantic evolutionary leap in terms of technology. Studies point out that in 5 years, the 80% of people that accesses the internet will do so from a mobile device. That’s a lot! That is why we want to start exploring the editorial possibilities that this platform offers, seizing the power of interaction in order to offer a better magazine and a better information source for our readers.

LARMAGAZINE.014 continues the exercise, established last issue, of reviving the most prominent contents that have appeared on our pages since the beginning of this publication, and we com-plement them with audio files, photos, parallel data, interactive footnotes, puzzle games, etc. In this issue you will find “The Em-peror’s New Suit”, a text from Marisol Argüelles, deputy director of México City’s Modern Art Museum. It is, without a doubt, one of the best articles that we have gladly presented in LARMAGAZINE, since it tackles one of contemporary art’s main problems: a pre-tentious language used by some curators and researchers, who more than clearing things prefer to confuse, drawing away the audiences with their flamboyance.

The Best of

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We also feature an interview I made to Paulo Licona, to me one of the best Colombian artists, about the project he presented at the ��. We show you the magazine as it was published in 2012, and complement it with a new conversation where we review what happened with the projects he was cooking then, and what he is doing now. And lastly, we bring back to life “Variations Upon a Same Subject”, a conversation of our beloved collaborator, cu-rator Octavio Avendaño, with Sandra Calvo and Pedro Ortíz An-toraz, talking about politics in art. We showcase the artist portfo-lios of Adriana Salazar, Carlos Castro, María García-Ibañez, Mateo Pizarro, Marisol Maza and Jimena Rincón.

We review and recommend the exhibitions “In/Humano” in the Museum of Contemporary Art of Monterrey, MARCO, and the International Triennale of New Media Art in China. And for our music editorial, written by our music lover editor Daniel Vega, we chose the article that our readers liked the most, “The Return of Alice In Chains”, which goes about the Seattle band and their new fortunes. We hope you love this reloaded edition. We will always be attentive of your commentaries and suggestions.

Catalina Restrepo LeongómezDirector and Co-Founder

LARMAGAZINEwww.lar-magazine.com

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EDITORIAL

¿Vieron la edición pasada? Es realmente emocionante ver lo que se puede hacer hoy con una publicación digital, y en especial lo que ofrece para una disciplina tan rica en contenidos visuales como lo es el arte contemporáneo. Este formato abre muchas posibilidades en términos de archivo y presentación de registros de obra.

Creo que en este momento de la historia nuestras actividades diarias y cotidianas están relacionadas directamente con los artefactos que tenemos a la mano. En cuestión de ocho años, con el avance de los celulares y las redes sociales, se ha transfor- mado por completo la forma en que recibimos y transmitimos la información; en esta generación fuimos testigos de un salto evolutivo gigantesco en términos tecnológicos. Los estudios in-dican que en 5 años, el 80% de las personas que acceden a inter-net lo harán desde un dispositivo móvil. ¡Eso es muchísimo! Y por lo mismo queremos empezar de una vez a explorar las posi-bilidades editoriales que ofrece esta plataforma, aprovechando al máximo el poder de interactividad para así ofrecer una mejor revista y una mejor fuente de información a nuestros lectores.

LARMAGAZINE.014 continúa con el ejercicio que se planteó en la edición pasada, de revivir los contenidos más destacados que han aparecido en nuestras páginas desde el inicio de esta publi-cación, y los complementamos con archivos de audio, fotos, datos paralelos, juegos, pies de página interactivos, etc. En este número encontrarán “El Traje Nuevo del Emperador”, un texto de Marisol Argüelles, quien es ahora la subdirectora del Museo de Arte Mo-derno de la Ciudad de México. Es sin duda uno de los mejores ar-tículos que hemos tenido el gusto de presentar en LARMAGAZINE,

Lo mejor

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ya que toca uno de los principales problemas que enfrenta el arte contemporáneo: el lenguaje pretencioso que utilizan algunos cu-radores e investigadores, quienes más que aclarar prefieren con-fundir, alejando a los públicos con su rimbombancia.

También presentamos la entrevista que hice a Paulo Licona, a mi parecer, uno de los mejores artistas colombianos, sobre el pro-yecto que presentó en el ��. Esta vez mostramos la entrevis-ta tal como se publicó en 2012, y la complementamos con una nueva conversación en donde revisamos qué pasó con los pro-yectos que estaba cocinando en ese entonces, y lo qué está ha-ciendo ahora. Y por último, revivimos “Variaciones sobre un mis-mo tema”, una conversación de nuestro queridísimo colabora- dor, el curador Octavio Avendaño, con Sandra Calvo y Pedro Ortíz Antoraz, tocando el tema de lo político en el arte.

Presentamos los portafolios de los artistas Adriana Salazar, Car- los Castro, María García-Ibañez, Mateo Pizarro, Marisol Maza y Jimena Rincón. Presentamos las exposiciones recomendadas “In/Humano” en el Museo de Arte Contemporáneo de Monterrey, MARCO y la Trienal de nuevos medios Thingworld en China. Para nuestro editorial de música, escrito por nuestro melómano edi-tor Daniel Vega, escogimos el artículo que más ha gustado a nues-tros lectores, “El regreso de Alice In Chains”, que habla sobre la banda de Seattle y sus nuevas andanzas.

Esperamos les guste mucho esta edición recargada. Estaremos siempre atentos a sus comentarios y sugerencias.

Catalina Restrepo LeongómezDirectora y Co-Fundadora

LARMAGAZINEwww.lar-magazine.com


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"THAT CONTEMPORARY

ART BE CONSIDERED AS CLASSIC AND ENDURING CAN

ONLY BE JUDGED BY FUTURE

GENERATIONS"

IAN SEMPLE

NEW EXHIBI-VIDEOS TION

LARMAGAZINETVStanze / Rooms Works from the Sandretto Re Rebaudengo Collection,

Me Collectors Room. Berlin, Germany

List of works

THIS CONTENT REQUIRES AN INTERNET CONNECTION

`

Skatepark, 2011

INTERVIEW WITH

PAULO LICONA ON HIS PROJECT

"SKATEPARK"

INTERVIEW WITH

PAULO LICONA ON HIS PROJECT

"SKATEPARK" at Museo de Antioquia during the Encuentro

Internacional de Medellin MDE2011, Colombia

at Museo de Antioquia during the Encuentro Internacional de Medellin MDE2011, Colombia

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Cata: Where did the project you made in Medellín come from?

Paulo: I went to Medellín because of an invitation I received to make a Project related to a specific spot downtown in the city: Morabia, a neighborhood that stood out for having a mountain of trash. What happened was people were being relocated to dif-ferent neighborhoods. Many people had decided to live there, all the deployed from 1970 onwards. They used to arrive on the transport terminal which was just in front of this dump —it was Medellín’s dump for some time. Actually, those people had a re-lationship with Pablo Escobar.

The idea of the Project, called exsitu-insitu, was to see if one could intervene and see the problems caused by this relocation; they were taking people to different neighborhoods outside Medellín, to the periphery, even though the dump was only 10 minutes from downtown. They made their living from recycling.

I first decided to get together with a group of kids. I first invited them to do some piñatas. I asked them if they would miss their homes, since they were being moved to buildings. They had some nostalgia about it, but didn’t worry a lot because they could easily get comfortable. It all started with a reflection about the houses they were losing. We then built a home and a mountain of piñata and made a trip from the dumpster to their new place. We made a little movie about all this, then broke all the piñatas and shared

El Encuentro Internacional de Medellin (The Medellin International Meeting, MDE07 and MDE11), developed by the government of Antioquia and the Museo de Antioquia, gathers international professionals of the art world for a few months to share ideas; a forum to discuss, learn, work and debate. It is, without a doubt, one of the most visionary projects ever done in Colombia, and has already set a precedent for such events in Latin America.

` `

I talked with Paulo Licona about his experience creating one of the most prominent projects at MDE11.

`by Catalina Restrepo Leongomez`by Catalina Restrepo Leongomez

Post-InterviewwithPaulo Licona2014

About the skateboarding ramp after the ��.

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Post-InterviewwithPaulo Licona2014

in; I was the only one, and was named janitor. The construction was made with all the demolished material left from their homes back in the dumpster. I talked to them and started organizing a series of events. Besides, the construction was a copy of a cultu-ral center in the same neighborhood, one of the last constructions made by Rogelio Salmona, an important Colombian architect. That cultural center, the original one, seemed funny to me; despite of it being an open place where children could go and play, but it had a number of rules and prohibitions that seemed to me hard and limiting for the neighborhood. They were being contained.

Our construction lasted two months and a great amount of even-ts were held, such as drawing. They decided what had to happen.

Cata: And were those rules written? I mean, they did a list of rules first?

Paulo: No, everything was very colloquial. There was a center in the club surrounded by stones that we painted, so we held meet-ings in front of them to discuss the rules and what was needed to become a member.

Kids talked about respect. They also said that a club had to have a football field, a pool; that in a club you have to eat and exchange words. We then made parties. I bought pools that I installed abo-ve, in the dumpster (where there was no water) and I had to ask the firefighters to help me climb there to fill them. Another time, La nueva ola, 2014

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España

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Colombia

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ColombiaMarisol Maza

México

Carlos CastroColombia

ARTIST PORTFOLIOS

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México

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Cadena de sacrificio, 2013TAP IMAGES

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Adriana Salazar

Lo que existe, lo que no existe, 2013TAP IMAGES

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TAP IMAGES Tierras continuas, 2014

TEXT ABOUT TIERRAS CONTINUAS by María Arregui


ENGLISH ESPAÑOL

Video by Mauricio Novelo Jarque

VARIACIONES DE UN HEXÁGONO 2014 EXHIBITION Photography by Romina Hierro. Gorila Glass Residency

Variaciones de un hexágono, 2014

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ESPAÑOL

Carlos Castro

Viejas noticias del presente, 2014

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Big, a Miniature II, 2014

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Cartografías temporales, 2011-14

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Marisol Maza

Ahí va el golpe!, 2014

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INTERVENTION TO THE TURISTIC MAPS LOCATED IN LA MERCED NEIGHBORHOOD, MÉXICO CITY


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Jimena Rincón

Untitled (Panel), 2014


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THE EMPEROR'S NEW SUITExcesses and Vanities in Art Writing

by Marisol Argüelles

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One of the true challenges of cultural institu-tions in Mexico is to be able to attract a non-tourist audience. It is true that many of them have the habit of visiting museums, but the attendance numbers are in no way the desired ones, much less if compared to the amount of inhabitants in urban areas. I have heard many excuses for not visiting a museum: they are costly, they are boring —few say it, but many think so—, people never know what is show-ing, or they simply think it’s not for them.

Some excuses are true, some not so much (to-day visiting a museum costs you around $15 to $45 pesos), but there is everything, good, bad, and so-so exhibitions. But I think the problem is bigger. It is a distance issue between art and

the audience, where each one has taken a dif-ferent side of the court.

But it is also true that responsibility relies not only in exhibition spaces. The chain is much larger and begins with basic education, the family circle, and initiative itself. Public and private institutions, magazine editors, authors and art promoters, they all play a pivotal part in determining the way the audiences get in-volved in what is produced and exhibited.

And here is where I suspect something happe-ns, something that gives little stimulation to visitors and readers to return to the museums, or keep an interest in what happens: the self-consuming of art. In other words, it would

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RECOMMENDED

International Triennial of New Media Art 2014

National Art Museum of China. Beijing, ChinaPhotography and Video by Adriana Salazar

Zimoun, DC-motors, cotton balls, filler wires, cardboard boxes, and a power supply, 2011

thingworld

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Chico MacMurtrie / Amorphic Robot Works, Organic Arches II, 2014

Adriana Salazar, Machine that Tries to Tie Two Ends of a Shoelace Together, 2006


museo de arte contemporáneo de monterrey, marco

curator gonzalo ortega

DOUGLAS GORDON / ILKKA HALSO / CATHERINE BAGNALL / JOSEPH BEUYS / MIGUEL

CALDERÓN / ALEJANDRO CARTAGENA / ALFREDO DE STÉFANO / CHARLES FRÉGER /

SHAUN GLADWELL / RODRIGO IMAZ / CLAUDIA LÓPEZ TERROSO / MIKE MEIRÉ / HEATHER

& IVAN MORISON / WAYWARD PLANTS / ALEC SOTH / JOEL STERNFELD / TANIA XIMENA

in/humanojuly to november 2014

Alejandro Cartagena, Río Perdido #21 from Series Suburbia Mexicana, 2007

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Douglas Gordon, Play Dead; Real Time, 2003


Rodrigo Imaz, Hazte miel y las moscas te comen, 2014


VIDEO COURTESY OF THE ARTIST



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Variations Upon the Same Subject

by Octavio Avendaño Trujillo

With today’s art strategies, its relationship with politics has been redefined, being progressively more evident that it’s in the process where its political nature resides. Also, its lampoonist traditions have been substituted by collaborative and investigative strategies. That is where my interest in approaching this subject from different points of view was born, and to have an in-formal chat with artists (from México City) and (from Barcelona) in the Salón Madrid Cantina, in downtown México City.

Sandra CalvoPedro Ortíz Antoranz


Octavio: I have a quote from Foucault in mind that goes “power is really an open haze, whose only problem resides in having an analysis screen that allows us to analyze it”. I bring it to case so we can discuss politics through the art screen. Without a doubt, this screen has been different; I think in the tradition of lampoonist art comparatively with our present situation, where art and politics intertwine with interdisciplinary strategies, becoming an open field.

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SSandra: It’s an important leap. The artist relies on people that can give him not a frivolous, box-office foundation about politics, but a solid one. Artists like Enrique Jezik, Iván Edheza, where I clearly see a concern for work-

shopping, for dialoguing with people who is related to po-litical issues. And you can see that in their work, since it goes beyond the fashion theme in politics, and its clear that their pieces are artistic without any journalist, pamphlet-like aspects, which I think is a current tendency. I don’t doubt that, in different moments, art was involved in other dis-ciplines, and that there even was a dialogue between them, but today there is a mayor concern of involving people who knows about these subjects. An example is the course we are developing at MUAC: Localizations and deployments, critical constellations about art and politics; we got urbanists, an-thropologists, philosophers, etc., giving much more solid results. I don’t say that the artist is unable to pass political messages, but that he sometimes looks naïve when trying to do so, and the support of different disciplines makes his artistic work more serious.

SS

SPedro: One of the differential elements of this generation is, relatively, to have fewer problems when integrating discourses irrelevant to art. I believe it is clear that this discourses emerge in the art pieces of today. Formally, it

is easier for an anthropologist’s discourse to be featured in a museum today, something that hardly happened in the first or second vanguards; there were many conferences, but these were formalized through more classic expressions in art, as paintings and sculptures. The emergence of new formats in the last 30 years allows the discourse to flow.

PP

And not only artists, but agents of the scene such as curators. I think about Yutzil Cruz’s project, Obstinado Tepito, whose processes and gestures were articulated into politics —not into the formality of the work— and in the collaboration between different agents, like anthro-pologists. Another important thing about this are the strategies of some artists for using schemes or diagrams.

O

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From first seeing her piece, the hand-embroi-dered copy of a Takashi Murakami print in the living room of Cata’s house, I felt that the paint-ing embodied certain ideas that teased at my brain with complex ideas revolving around rep-resentation and the meaning of authenticity in the work of art. I was happy yesterday to have the opportunity to talk about this piece, and the one she is currently working on which is a copy of a photograph of a piece by Jeff Koons, with Cata, yesterday during our exploration of México City. It allowed me to crystalize some ideas that had been forming in my brain re-garding her work, and why I liked it so much.

To begin, the piece is extraordinarily beautiful. It is an image of hundreds of cartoon flowers with manic faces, like a drugged vision of an early Disney cartoon, rendered the more so by the thick and luscious texture of the brilliantly colored thread she uses to do the embroidery itself. This is in contradistinction to the original Murakami. I am not sure precisely what the source is, but I imagine a print, which, if so,

would have been flat and computer generated, with absolutely no texture. The embroidered version is deeply textured, and clearly made by hand, over hundreds of hours, filled with the idiosyncrasies and lovely imperfections which are the inevitable result of the hand-made piece, while the original is flat (in fact, Superflat, as the artist calls his brand of painting), clearly embraces modern, technical means of produc-tion, and is machine made. It is not without a certain irony that the version made by Cata’s mother must certainly have taken an unimag-inable amount of time to make, while the orig-inal, so lovingly copied, must surely have taken a great deal less.

It is telling that the two pieces thus far conceived are both by artists whose work is specifically conceived in a mode which rejects traditional ideas of authorship in the work of art. Both artists work with studios who execute their works, so that it is not uncommon that the art-ist will not have touched a piece at all, until the time comes to place upon it his signature. The

Some Thoughts on the Work of Margarita Leongómezby David Gremard Romero

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conception of the artist is given primacy, and the work of the hands, the craftsmanship itself, is considered irrelevant to the meaning of the final piece.

This conception of art has its origin, or was first articulated, in the work of Walter Benjamin, prior to World War II. He described the original,

traditional work of art as possessing an aura, which is imbued by the hand of the artist and in effect transforms the work of art into a reliquary or sacred object, because of its ab-solute uniqueness. However, because of the new, modern ability to reproduce art through mechanical means, images of art would be-come “ephemeral, ubiquitous, insubstantial, available, valueless, and free,” and the art piece itself would come to be stripped of its aura of value and meaning. I think that this prediction of the work of art in the modern age was always doomed to fail, in part because the uniqueness and meaning of the original work is altered, but not destroyed, by its mechanical reproduction, and partly because of the voracious ability of capitalism to commodify the object and create value where none should exist.

What Benjamin described was a new form of visual meaning in the world, which did not destroy the old order, but merely came to co-exist along side it. Thus, Murakami’s prints are made in a computer, without ever being touched, physically, by the hand of the artist.

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THE RETURN OF ALICE IN CHAINS

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The Devil Put Dinosaurs Here is just Alice In Chains’ fifth record, in a solid career that is nearing its third decade. Following the band’s 2009 comeback album Black Gives Way To Blue, after the untimely death of original sing-er Layne Staley in 2002, the band has perform-ed in stages around the world, and this new record has a more tighter feel, like a tailored suit. Alice’s sound has been refined, keeping its patented 90’s sound up to date.

Many songs in this new record have evolved naturally from past works: Voices, Low Ceiling, Scalpel and Choke could make up a modern Jar

Of Flies (1994), the band’s classic acoustic EP, and hard-rockers like Phantom Limb, Stone and Pretty Done keep the punch of Dirt (1992), the band’s ultimate album, although this recording adds a thickness to the low frequencies that in its most intense moments resembles a kind of Doom Metal vibe, more than the classic Seattle sound.

The actual sound of the record has been shap-ed carefully; these tracks have such brightness and presence that one could say they are some of the most accessible in the band’s catalog, but that doesn’t take from them, and the record does not fall short in heavy attacks. In fact,

Alice In Chains has delved more and more into its dark side with time, and they execute with the needed composure to reflect it, not a bit less. This is a psychedelic trip, with some re-flective stops in the way.

As for the sound, the guitars have a great bal-ance with the rhythm section, and the weak-est link may just be the vocals, despite the good connection between Jerry Cantrell, guitars/vo-cals and founder, with new singer/guitarist Wil-liam DuVall. Harmonies are sometimes blurry, and sound artificial in some passages. This is where Staley is missed the most, since he used

to create a gloomy atmosphere with his un-canny style and despair-filled lyrics, without abusing studio effects.

Many will listen to this record looking for Can-trell’s fret work, and there is no shortage of solos here. See Phantom Limb again (maybe one of the most crushing tracks in the band’s entire discography) and its middle-section solo; Cantrell channels it with grace and cadence, without clogging the speakers too much, but with enough strength to hook your ears. His approach is dark, with a certain stressed calm-ness that makes every note shine and breath among Nick Raskulinecz’s (Foo Fighters, Stone

The compositions wander through known territories: scenes of regret, desperation and loneliness, decision-making moments -to change or to remain the same- and the acknowledgement of feelings and mistakes made.

2/3

CONTINUE READING “THE RETURN OF ALICE IN CHAINS” IN LARMAGAZINE iPAD APP


ANISH KAPOOR

PIPILOTTI RIST

VIK MUNIZ

ANDRES SERRANO

JOHN BALDESSARI

KRZYSZTOF WODICZKO

MATTHEW BARNEY

JEFF KOONS

MARK RYDEN

CAI GUO-QIANG

AI WEI WEI

CILDO MEIRELES

FELIX GONZALEZ TORRES

BARBARA KRUGER

ANA MENDIETA

OSCAR MUÑOZ

JAKE AND DINOS CHAPMAN

VANESSA BEECROFT

RON MUECK

LOS CARPINTEROS

RACHEL WHITEREAD

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LARMAGAZINE.013Best of. Part 1 No013 · may jun 2014

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