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15/1/2014

Two exhibitions

Sala de Arte Publico Siqueiros, Mexico City

The Sala de Arte Público Siqueiros (SAPS) begins its 2014 exhibitions program with two artists who have committed their work to immediate problems affecting their particular contexts and respective generations. In both cases, their work derives from situations or actions generated by artistic practice–which are non-replicable as experiences but as possibilities for analysis. With these exhibitions, the SAPS joins a series of research projects towards the recuperation of Latin American historic figures as key references to contemporary art practice.

Teresa Burga
Perfil de la mujer peruana (1980–1981)

Teresa Burga (born 1935; Iquitos, Peru) is one of the representatives of the renovation of Peruvian art during the sixties and seventies. As part of the Grupo Arte Nuevo (New Art Group) (1966–1968) and subsequently developing her individual practice, she was one of the precursors of the dissolution of the art object incorporating experimental processes and new creative strategies to produce a rigorous body of conceptual work. The project undertaken by the artist for the SAPS is the materialization of a sculptural sketch that was part of the project Perfil de la mujer peruana (Profile of the Peruvian Woman), created in collaboration with Peruvian psychologist Marie-France Cathelat during 1980–1981. The project was originally presented in 1981 during the I Coloquio de Arte No-Objetual y Arte Urbano (1st Symposium of Non-Objectual and Urban Art) at the Museo de Arte Moderno in Medellín, Colombia; months later it was shown in an exhibition at the Banco Continental in Lima, Peru; by the end of that same year, the full investigation came together as a published book. The recovery of this project seeks to revisit the reflective process encouraged by an artistic proposal–one that analyzes the status of women from their political, economic, educational, religious, racial, sexual and legal aspects–that took part of second-wave feminism in Latin America; expanding its analysis up to the present.

Fritzia Irizar
Obliteraciones (1939–2014)

Fritzia Irizar (born 1977; Culiacán, Mexico) has developed one of the strongest artistic proposals among new generations in Mexico. In her practice she involves various audiences in order to encourage the exchange of symbolic values ​​that circulate around economics, psychology, and even themes related with superstition and desire. Irizar thus establishes a critical guide to understanding those elusive forces driving our daily existence. Obliteraciones (1939–2014) (Obliterations [1939–2014]) brings together an intervention designed for the Proyecto Fachada (Façade Project) at the SAPS, and a selection of seven pieces to be presented at the first-floor gallery, all linked to mechanisms of obstruction, cancellation or missing information in the artistic practice that allude to various social and political strategies towards consolidation or preservation of power. Both projects encompass bounded dynamics within the period 1939–2014, signaling 1939 as the year when Siqueiros started painting the mural Retrato de la burguesía (Portrait of the Bourgeoisie)–since the façade sets its origins in Siqueiros' work. The second date marks the production of this project at SAPS. Both exhibitions act out as reflective proposals that evidence the mechanisms of discursive legitimacy both in the art system and in politics, while playing with appropriation and re-elaboration processes as a creative strategy.

Press contact:
Avryl Rabago Communications and Public Relations 01 777 3151115 difusiontallera@saps-latallera.org

Sala de Arte Público Siqueiros
Tres Picos 29 (esquina con Hegel) Polanco | CP 11560 México DF
Hours:
Tue - Sun 10a.m. - 6p.m.
Closed on Monday

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