The fallacy of being by Janet Batet [write-up]

MIS.PLACED (November 2018)

by Janet Batet

The fallacy of misplaced concreteness proposed by Alfred North Whitehead describes the process through which concrete reality is supplanted by an abstraction. Most of the time, this act of reification implies misleading preconceptions around our existence. The recurrence to binary excluding dichotomies in global society has been a systemic attempt to distort and numb social sensitivity and deriving from this practice, we have been witnessing the careful replacement of terminologies in order to justify our detachment from others.

The systematic replacement of the term “refugee” by “immigrant” accompanied by adjectivizations such as “illegal” and “undocumented” in politic discourses and mass media has the intended aim of dissociating our civic and moral obligation toward this growing group of displaced individuals in global society. Under these circumstances, we are witnessing a new invisible mass of displaced people that become misplaced.

Don’t be wrong, the difference is substantial. Something misplaced is moved away, out of its natural emplacement or boundaries but not excluded or forgotten.

Misplaced gathers the proposals of six female contemporary artists who delve into the fallacy of displacement in contemporary society. Assuming their own bodies as the ultimate territory, each of them establishes a personal fable that procures the restoration of the dignity of the misplaced being.

Before entering the main gallery, Anja Marais’ “Up-Flight of the Wingless Bird” (2014 – 2018) receives us inside a vintage King Camper. The mesmerizing yet intimate video-installation effectively transports us into the tormented mood of the ever-transforming character which looping metamorphosis is captured in an exquisite pixilation animation (over 15,000 photographs integrate this video).

The capricious and yet meaningful allegory of the butterflies and the yellow-spotted river turtles in the western Amazon rainforest is the starting point for Carola Bravo’s “Yellow Resourcefulness” (2017). The interactive installation where yellow butterflies come to drink from our tears reminds us of the always present interconnection – at times indecipherable but essential – between all living beings.

Echoing “Yellow Resourcefulness”, “Immigrant Portrait Series” (Carola Bravo, 2015-2016) presents three videos (“Homesick Tears”, “Nostalgic Tears” and “Sad Tears”) in a loop. Based on three of the major Lichtenstein artworks, this ritournelle emphasizes the idea of the artist’s own sacrifice as a food source and resource for others’ life.

Also playing with the analogy of tears, sacrifice, tribute, and perseverance, Nina Surel’s “Vale of Tears” (2018) is an immersive and visceral installation. Mainly integrated by family garments and personal memorabilia feeding crystal teardrops that are suspended from the roof by engulfed women’s stockings about to burst, this installation is a poetic yet dramatic allegory about gender migration and memory.

Architecture of The Mind” (Marina Font, 2017) and “Quote-on-quote Influencer” (Johanna Boccardo, 2018), are both intervened photographs that focus on the psychological aspect of the misplacement. In both artists, the veiled surfaces are highly significant. In the case of Boccardo, the blocking technique so dear to her work implies a sort of palimpsest where the non-permanence resonates through the successive never-ending acts of writing and erasure. While in Boccardo’s work the relation of the subject with the context is essential, in Font’s “Architecture of Mind” we are witnessing an internal time, almost unconscious: the survival mapping of existence.

The dialogic relationship that derives from the counterpoint between “This Libation Song of Yearning” (Anja Marais, 2018) and “Tierra” (Regina Jose Galindo, 2013) becomes essential. In Marais’ work, a prepubescent girl holding an African mask moves forward while carrying several recycled receptacles loaded with ground corn. The totemic figure embodies the ontological scope of human displacement.

In Regina Jose Galindo’s “Tierra”, the stoic, nude female body anchored to its original space, resists the onslaught of the excavator shattering the earth around her. “Tierra” pays tribute to the victims of the genocide perpetrated by former President of Guatemala Jose Efrain Rios Mont. “Tierra” is also a heartbreaking testimony of the growing number of humans misplaced and even annihilated in their own homeland.

Misplaced is hosted by Collective 62, an independent art space devoted to creation outside of the traditional circuits of art. Located in Liberty City, Collective 62 also seeks to reverse the growing phenomenon of gentrification (another exponent of misplacement at the urban scale) through regeneration that derived from creation and community-based workshops.

By |2018-12-07T23:11:53+00:00December 7th, 2018|

Art Basel Studio Tours 2018 [open studio]

STUDIO TOUR | ART BASEL 2018

Art Basel Miami Beach and Anja Marais invite art patrons to visit the artists’ studio as part of the official Art Basel Studio Visits program. Join her Saturday, December 8, 2018 from 9:00 AM to 12 PM for a behind the scenes look at new works created at The Santa Fe Art Residency.

Here is a map of the participating artists: https://bit.ly/2KdQS7v

By |2018-12-04T10:27:40+00:00December 4th, 2018|

Mis.Placed [exhibition]

curated by Janet Batet

Opening Reception 11/29/2018 6 – 9pm

Art Basel Breakfast 12/07/2018 8 – 11am

COLLECTIVE 62 • 827 NW 62nd Street, Miami, FL, 33150

Anja Marais / www.anjamarais.com / @anjamarais

Marina Font / www.marinafont.com / @marinafontstudio

Carola Bravo / www.carolabravo.com / @carolabravoart

Nina Surel / www.ninasurel.com / @ninasurel

Johanna Boccardo / www.johannaboccardo.com / @jojapiposa

Regina José Galindo / www.prometeogallery.com / @prometeogallery

Press Contact and general inquiries
info@thecollective62.com
305 586 0252


MIS.PLACED: The fallacy of being.

The fallacy of misplaced concreteness proposed by Alfred North Whitehead describes the process through which concrete reality is supplanted by an abstraction. Most of the time, this act of reification implies misleading preconceptions around our existence. The recurrence to binary excluding dichotomies in global society has been a systemic attempt to distort and numb social sensitivity and deriving from this practice, we have been witnessing the careful replacement of terminologies in order to justify our detachment from others.

The systematic replacement of the term “refugee” by “immigrant” accompanied by adjectivizations such as “illegal” and “undocumented” in politic discourses and mass media has the intended aim of dissociating our civic and moral obligation toward this growing group of displaced individuals in global society. Under these circumstances, we are witnessing a new invisible mass of displaced people that become misplaced.

Don’t be wrong, the difference is substantial. Something misplaced is moved away, out of its natural emplacement or boundaries but not excluded or forgotten. Misplaced gathers the proposals of six female contemporary artists who delve into the fallacy of displacement in contemporary society. Assuming their own bodies as the ultimate territory, each of them establishes a personal fable that procures the restoration of the dignity of the misplaced being.

Misplaced is hosted by Collective 62, an independent art space devoted to creation outside of the traditional circuits of art. Located in Liberty City, Collective 62 also seeks to reverse the growing phenomenon of gentrification (another exponent of misplacement at the urban scale) through regeneration that derived from creation and community-based workshops.

Janet Batet

By |2018-12-05T11:57:05+00:00November 28th, 2018|

Unnatural Nature [exhibition]

Curated by Jessica Acosta-Rubio
at Pinecrest Gardens

Still image from the video “Fruit Forager”

An Art Immersion Experience of video art, design and music!

Opening Reception
Saturday, November 10/2018
6:00 p.m. – 9:00 p.m.

Featuring
Video-Artists
Anja Marais/Amalia Caputo/Antonia Wright/Carola Bravo
Juan Carlos Zaldivar/Maritza Caneca
Artists and Designers
Fabio Designs/Flora and Form/Nina Surel/Rita Motta
Studio Mass/Paloma Teppa/Inverssa/Rafa Muci/Alex De Yavorsky/Artesanogroup
Musician
Julio Prato

With the Support of
INVERSSA / EPSON

Pinecrest Gardens
11000 Red Road, Pinecrest Fl 33156
Phone: 305.988.5089

On view from November 10/2018 through January 6/2019
Open Daily: 8:30 a.m. to 5:00 p.m.

www.hartvestproject.com

By |2018-12-05T11:54:30+00:00November 8th, 2018|

Eros Effect at Bridge Red [exhibition]

Curated by Jane Hart

Disintegration is Transformation / Transformation is Disintegration / 2018 / Decollage Mixed Media

November 4, 2018 through January 6, 2019

Sunday, November 4, 4-7pm opening reception

Sunday, January 6, noon-3pm closing reception

CALL:  3057901797 for an appointment on other days.

Bridge Red Studios/Project Space

12425 NE 13th Ave. #5, North Miami, FL 33161

The exhibition title draws upon a term coined by philosopher George Katsiaficas in his book “The Imagination of the New Left: A Global Analysis of 1968,” the concept of the “eros effect” is a means of rescuing the revolutionary value of spontaneity, a way to stimulate a reevaluation of the unconscious and strengthen the will of popular movements to remain steadfast in their revulsion with war, inequality, and domination.

50 years ago in 1968, a surge in societal and personal awareness brought tremendous creativity as well as tumult, leading to sweeping changes both culturally and socially. This exhibition focuses upon how 50 years on, artists working in all media, are addressing aspects of these issues given our world today. The gallery space will become an activated, evocative environment that serves to be both thought-provoking and inspirational. – Jane Hart

By |2018-12-05T11:52:54+00:00November 2nd, 2018|