Uma perspectiva crítica sobre a exposição 'Under The Same Sun'

Termina hoje a exposição Under the Same Sun: Art from Latin America today, no Guggenheim de Nova Iorque, que reuniu 40 artistas contemporâneos de 15 países, com trabalhos de pintura, escultura, fotografia e vídeo. 

Julie Schwietert Collazo faz um balanço crítico sobre a exposição no site Hipperallergic, considerando a pertinência de fazer um retrato de um contexto tão diverso e adequação do espaço a certos suportes, como por exemplo, o vídeo. 

The medium of video — even if it is just a document of the artistic act rather than the act itself, as in Galindo’s and Bruguera’s cases — is one of the most democratic and subversive forms in which artists in “developing” countries can work. Typically more accessible than “traditional,” institution-bound art, video has a unique ability to make direct verbal and visual statements, and it’s easier to share. As Santiago points out, “A digital file is a very versatile thing. It can be projected, streamed, stolen, shared, copied and reproduced.” You can, for instance, see parts of “Tatlin’s Whisper” and “La Cueva Negra” on YouTube, as well as “Punto Ciego” on Vimeo. And, in the setting of Latin America, video is powerfully symbolic: the artists are appropriating a medium that, in many parts of the region, is largely owned by the state, or at the very least whose messaging is dramatically influenced by the party line. For video to be largely out of view in this show decontextualizes it and undercuts its impact.

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