Portal de Blanca
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Mayor White, Rafael Laorden, the director general of cultural industries and the Arts, Jose Antonio Lorca, and the councilman of Culture, Esther Horton, opened yesterday afternoon in the photographic exhibition 'Flesh and Stone' which looks at the relationship between body and space in the international contemporary photography.
The photographs of sixteen artists, both established and young promises, such as the brothers Raul and Sergio Belinchón Daniela Nobuyoshi Araki Edburg or remain in the Exhibit Hall until 30 June.
White welcomes yesterday the first of the exhibitions that come to town in the hand of the Visual Tour of Murcia.
Mayor White opened Rafael Laorden with director general of cultural industries and the Arts, Juan Antonio Lorca, and the councilman of Culture of the City of White, Esther Horton, the photographic exhibition 'Flesh and Stone'.
It is about twenty photographs, belonging to sixteen young talents and established artists, through which one tries to analyze the relationship between body and space in the international contemporary photography.
Some of the works that remain in the Exhibition Hall Municipal blanqueña until June 30, have already gone through some of the most important national museums such as the Reina Sofia.
Flesh and Stone
Flesh and Stone is nothing but a common denominator, quickly overwhelmed by the work of some of the most important artists who have used the camera.
Artists today are part of art history, who built the current ways of seeing beyond the purely artistic grounds, and thus the advertising, design, fashion ... everything is contaminated visionary capacity of teachers capable of altering the reality or find it the perfect stillness that makes us forget that what we see, not a landscape.
It's a burning house.
When analyzing the history of photography as an artistic process, is very difficult to fix the time when the will dissociate strictly documentary and artistic will.
However, since the 60's, both conceptions end up being equally "artistificadas" as reveals very clearly the documentary trend that has prevailed in the middle of the last decade.
Regardless of the will more or less subjective, there are two poles that span almost the entire photographic work we consider art: architecture and body.
Logically one might think that the architectural trend should be more documentary, yet reflected the alteration of accounting photoshop has an element of architecture mutable and easily convertible from a subjective game.
On the other hand the body, which should focus performative trends, just receiving treatments that in some cases they end up objectify.
In that sense, and within this sample, the work of Joseph Beuys uses photography in an ambiguous way, and so are the human figures as documentary remains the sculptures turn out to be true portraits.
If anyone can serve to illustrate this concept of objectification of the body is undoubtedly Buetti Daniele, recorded with his models, converted to canvas the passion for fashion.
A horror vacui of hardness especially pronounced.
As against this, the irony of Erwin Wurm, which turns the body into a toy by its Ready made a minute.
The piece that we see in this exhibition is one of the most significant artist: The artist himself for charity.
The terms that give title to the sample we serve simply as two pillars between which position trends are often irreconcilable.
The cold glacier average German household in the 80's, through the masterful vision of Thomas Ruff nondescript buildings that flourished in Spain during the 90, shaped by Sergio Belinchón.
From Aitor Ortiz ambiguity and duality between sleep architecture and the spectacle of architecture in the number of seats Patios Belinchón Raul.
There is no single view, as there is not the body itself.
These naked bodies seen by far miles Per Barclay objectification of women into Nobuyoshi Araki, and among them, some artists who are looking in the cracks of photography itself, making the subject is as mysterious as strong a desire to question the own identities.
Alfredo Jaar facing the ladder and using Picasso as a pretext, Jolley and Reynold Reynolds Ptrick burning a house to capture the extreme limit of daily life when it is no longer bearable.
Source: Ayuntamiento de Blanca
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