‿︵agua malva‿︵ primaeval soup༊ conchada,muladar registro ༊oyster midden *ੈanunciación ◌orbiculita
aglomerón
porosa rosa porino fauxiles art&crap reino ruin descendimiento
Agua‿︵Malva︵‿︵‿ , 2022.
Agua‿︵Malva︵‿︵‿
LOCAL Arte Contemporáneo, Santiago, Chile, 2022.
Curatoría, Celine Fercovic.
︵‿︵‿
ထ Tzvetnik
ထ Artishock
ထ Relieve Contemporáneo, entre.vista
LOCAL Arte Contemporáneo, Santiago, Chile, 2022.
Curatoría, Celine Fercovic.
Agua Malva reúne materialidades afines, objetos que emergen de sustratos comunes, pero que al ser afectados por la erosión física e intervención humana adquieren nuevos estados y funciones. Conchas marinas, restos de comida, estructuras de acero y cobre, vitrales y vidrio soplado, cuerpos nacarados y superficies espejadas habitan y desbordan los límites domésticos de una casa-galería. Las remociones, incrustaciones y crecimientos, intervienen el espacio para dirigirnos por estratos materiales en continua transformación.
En fabulación con el color malva —primer tinte sintético comercializado y accidentalmente descubierto en 1856—, las virtudes desintoxicantes y glutinosas de la flor con el mismo nombre y las materialidades de varios seres acuosos, la exposición invita a recorrer objetos y tiempos que se enfrentan a la hiper digitalización del mundo. Resistiendo a la uniformidad de la asepsia contemporánea, «Agua Malva» se filtra transportando objetos y sustancias que reflexionan sobre los excesos ambientales de nuestra época. La artesanía en las piezas generan atención hacia detalles que surgen desde procesos de acumulación y deterioro.
‘En esta casa-galería hubo conchas en otros tiempos y quizás también la invadan en el futuro… el suelo de madera es un océano y un conchal. Se supone que debemos ver a través de las ventanas, mirar hacia afuera y a veces dejar al exterior pasar. Si optamos en cambio, por adherirnos a la viscosidad fósil del vidrio, cuyo material primario es la arena, los restos pulverizados de pequeñas conchas y criaturas de sílice podrían aparecer desde un reino oculto. Esto no lo vemos, pero es posible atender con delicadeza a su proceso y darles la bienvenida a la casa’.
ထ texto curatorial
En fabulación con el color malva —primer tinte sintético comercializado y accidentalmente descubierto en 1856—, las virtudes desintoxicantes y glutinosas de la flor con el mismo nombre y las materialidades de varios seres acuosos, la exposición invita a recorrer objetos y tiempos que se enfrentan a la hiper digitalización del mundo. Resistiendo a la uniformidad de la asepsia contemporánea, «Agua Malva» se filtra transportando objetos y sustancias que reflexionan sobre los excesos ambientales de nuestra época. La artesanía en las piezas generan atención hacia detalles que surgen desde procesos de acumulación y deterioro.
‘En esta casa-galería hubo conchas en otros tiempos y quizás también la invadan en el futuro… el suelo de madera es un océano y un conchal. Se supone que debemos ver a través de las ventanas, mirar hacia afuera y a veces dejar al exterior pasar. Si optamos en cambio, por adherirnos a la viscosidad fósil del vidrio, cuyo material primario es la arena, los restos pulverizados de pequeñas conchas y criaturas de sílice podrían aparecer desde un reino oculto. Esto no lo vemos, pero es posible atender con delicadeza a su proceso y darles la bienvenida a la casa’.
ထ texto curatorial
Agua Malva gathers kindred materialities, objects that emerge from common substrates, but that getting affected by physical erosion and human interference transform their states and functions. Sea shells, food leftovers, bent steel and cooper structures, stained and blown glass, nacreous bodies and mirroring surfaces inhabit and exceed the domestic edges of a house that in the same mutable spirit has been morphing the last ten years to host artistic encounters. Elizabeth Burmann's removals, incrustations and growths, intervenes the gallery exposing those material phenomenas in continuous transformations.
In fabulation-with the color mauve –the first comercialized synthetic dye, accidentally discovered in 1856–, the detoxifying, glutinous virtues of the flower with the same name and the corporeal mélange of watery beings, Agua Malva, leaks into contemporary aseptic surfaces, and builds up carrying the disturbed materiality of current environmental excesses. Burmann’s crafts generates attention to details that bloom from processes of accumulation and decay.
‘There was a time in this gallery-house when shells dwelled around, and it could be that shells will propagate it again in the future. The wooden floor is an ocean and a midden. At the windows, we are supposed to see-through, look out there and sometimes let bits of the exterior come in. Instead, If we prefer to stick ourselves to the frozen viscosity of glass, the pulverized remains of tiny shells and silica creatures will appear from a hidden realm. This cannot be seen with human eyes, but it's possible to gently attend to their process and welcome them to the house.’
ထ exhibition text
In fabulation-with the color mauve –the first comercialized synthetic dye, accidentally discovered in 1856–, the detoxifying, glutinous virtues of the flower with the same name and the corporeal mélange of watery beings, Agua Malva, leaks into contemporary aseptic surfaces, and builds up carrying the disturbed materiality of current environmental excesses. Burmann’s crafts generates attention to details that bloom from processes of accumulation and decay.
‘There was a time in this gallery-house when shells dwelled around, and it could be that shells will propagate it again in the future. The wooden floor is an ocean and a midden. At the windows, we are supposed to see-through, look out there and sometimes let bits of the exterior come in. Instead, If we prefer to stick ourselves to the frozen viscosity of glass, the pulverized remains of tiny shells and silica creatures will appear from a hidden realm. This cannot be seen with human eyes, but it's possible to gently attend to their process and welcome them to the house.’
ထ exhibition text
︵‿︵‿
ထ Tzvetnik
ထ Artishock
ထ Relieve Contemporáneo, entre.vista
primaeval soup, 2020.
oyster midden & oyster midden bar, 2019.
Rhode Island School of Design, Providence, US ☙ The Wurks, Providence, US.
conchada i, 2019.
Video documentation
conchada muladar, workshop, PAN,Santiago, Chile, 2019.
muladar* was an invitation to eat steam mussels** and then making souvenirs with the discarded shells of the dinner.
With the aim of craft interactions that blend the normative distinctions over natural and cultural practices, muladar is meant to be a series of events for collective participation in the form of dinners, that entangles the cycles of consumption and digestion with the possibilities of pouring new meanings in materials that otherwise will be just trashed.
muladar* was an invitation to eat steam mussels** and then making souvenirs with the discarded shells of the dinner.
With the aim of craft interactions that blend the normative distinctions over natural and cultural practices, muladar is meant to be a series of events for collective participation in the form of dinners, that entangles the cycles of consumption and digestion with the possibilities of pouring new meanings in materials that otherwise will be just trashed.
* muladar is the hispanic word for "midden" archeological deposits also known as shell middens, shell mounds or kitchen midden, that are fossilized vestiges of precolonial domestic life and cuisine.
**mussels, like all other bivalves -oysters, scallops, clams- are filter feeders, which means that in order to get their food they filter and clean large amounts of water, getting plankton, algae particles, suspended organic debris, but also impressive amounts of microplastics and ocean pollution. I thought in bivalves then, as figures in which anthropogenic and biological forces are equally entangled.
conchada ii, 2022.
