21 Abril de 2018 - 15 Julio de 2018
Espacio de exhibición: Cubo, Galería
Curaduría: Michele Fiedler
Julia Rometti (Nice, France, 1975) and Victor Costales (Minsk, Belarus, 1974) look into practices exercised in opposition or outside of dominant power systems, like Bolivia’s Indigenous Anarchism in the Amazon forest or non-western ways of interpreting the world. Throughout their work, they have analyzed structures of political and mystical thought, and the cross between both, via different animistic beliefs or through the symbolism, traditions, artisanal customs, and language of different cultures.
Tapetum lucidum is a single work, composed of fragments, in which the artists consider the relationship between art and politics specifically in the context of this space, today a museum but, previously David Alfaro Siqueiros’ house and studio, a gathering point for popular political assembly, and an open workshop to discuss public art; this building also houses the muralist’s archive and library, which Rometti Costales engage with as if they are a single mind full of remembrances from which sprouts a collection of memories.
In parallel, they see the building as a body marked by physical transformations that respond to the changing uses that have been given to the space.
In an exercise that is similar to the one carried out by the Solarean Ocean character in the science fiction novel Solaris—who tries to communicate with the humans that study it by embodying their memories—the artists have fabricated a universe composed of references that allude to Siqueiros; for example, the memory of the attack led by the muralist, in 1940, against Leon Trotsky is represented through an abstraction of the pond that is originally located on the patio of the exiled Ukrainian revolutionary’s Mexico home. We also find elements recreated from photographs that appear in different books of Siqueiros’ library, like the first published geographical revision of Cuba made after the 1959 Revolution and a detail of the painting The Hunt in the Forest (c. 1465-1470) by artist Paolo Uccello.
On the other hand, the house—SAPS—also becomes a protagonist in this piece. The copper handrails and the structural columns extend or duplicate, in an act of claiming their authority in the face of ideology; the invisible processes that happen in the space are also part of this work, by ways of a continuous exchange of glances between the security guards, who are both the witnesses and the filters that write down the daily activity of the space. To encompass the fragments of this exhibition, a Literary Guide was edited in collaboration with artist Francesco Pedraglio in which each of the works that compose Tapetum lucidum is paired with a short story by Italian writer Giorgio Manganelli; these combinations of the literary with the visual, serve as portals opening to multiple interpretations.