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19/11/2002

Maria Rosa Jijon

Conteiner, Quito

Fratelli d’Italia by Maria Rosa Jijon
curator: Antonio Arévalo

Globalization tends to construct a new universality that cancels cultural specificity and signs of belonging.

The role contemporary art plays in this context is peculiar, structured as it is as a reflexive language, a means of self-representation, and a subject facing it-self. These remarks apply to the recent works of Maria Rosa Jijón, because in these ''the place without a place of the body whose limits would be those of the world” is not the world. Rather her search aims at meeting the two ends of the same spiral of a ''malestar disperso'' that Carlos Basualdo describes as ''the social whole''.

All work implies a hypothesis; hence Maria Rosa represents hers as a focus or as a speculation of poetical kind on reality as she herself names it. In this project the subject of the matter is an Ecuadorian woman going to Rome as alien or illegal immigrants.

The observer experiences a denial, a discussion, acceptance, and acknowledges: a multicultural universe, which represents the foreigners presence, cultural differences and their effect, encouragement of a dialog that can bring up concepts like hospitality, respect, tolerance. The system refrains from provoking potential fractures that could provide an interpretative approach with which the others could weaken reality and break logical connections.

The body o f work in this case appears as an answer likely to record a series of permanent traces whose purpose would be that of going beyond time, oblivion, error, false truth.

While in the past it was usual to describe nature by copying it, in the present art has started to relate to Nature as an object of thought. Such resistance is an essential exercise in the task of creativity that has to claim the existence of the work when such existence might lack, taking into account that art in the modernity is above all subversive and questioning.

Therefore an art object is a gesture of truth and present that quests for the centre in the outer. It does not attempt to preserve a privileged corner of the new figuration but rather aims at a radical challenge, then portrayed as an unquestionable point of crisis.

Because as Juan Downey would say ''cuando el arte exclude su contexto político se sitúa fuera de sus propios límites de actuación''. Nothing more than that sort of elitist approach that attempts to place the self out of oneself, in order to be oneself.

In the Image: 'fragile for export'.

Antonio Arévalo
Independent Curator
Rome 2002


Galeria El Conteiner
Isabel La Católica y Galavis esq. Quito, Equador
Telf. 235194 Fax. 225397

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