ExhibitionMay 2, 2022
"Leviatán" by Pablo Mora and "Aún tendría que haber luciérnagas" by Fernando Prats
Fragmentos, Espacio de Arte y Memoria presents the exhibitions "Leviatán" by Colombian artist Pablo Mora and "Aún tendría que haber luciérnagas" by Chilean artist Fernando Prats, the latter curated by Varinia Brodsky Zimmermann.
From April 21 to July 14, visitors can visit the winning artistic proposals of the third edition of the Fragmentos call in its two modalities: emerging artist and artist with a long trajectory. The proposals were selected by Julieta González, curator, and researcher (Venezuela); Nelly Richards, cultural theorist and critic (France & Chile); and Daniel Castro Benítez, director of the Museo Nacional de Colombia from 2015 to 2021 (Colombia).
With the work "Aún tendría que haber luciérnagas", Fernando Prats invites us to reflect on human fragility and the resistance of people who confront barbarism. From an investigation located in Buenaventura, Prats' work proposes a route that dialogues with "Fragmentos" and presents the recognition of the tragedy of forced disappearance from a community of victims and their testimonies view.
"The title of this exhibition presents us with the image of the last hope that, in this case, seemed pertinent to me from the issue of forced disappearance. This drama transgresses our Latin American continent, and it is from there that we situate this proposal. The phrase corresponds to a quote by the poet Paul Celan from the series of poems Soles filamentos (1968), which has been a reference in my work, especially when referring to issues related to memory. Fireflies can symbolize a luminosity that, amidst the darkness of these events, serves as a metaphor to evoke awareness of resistance, the value of life, and the necessary defense of human rights," says Fernando Prats.
Pablo Mora's "Leviatán" embodies the lost memory of the victims due to the negligence of the Colombian State. In his proposal, he presents an installation where the stratifications of clips, like sandbanks, embody a State "of eternal times," a counter-archive that evokes lives lost to the conflict or suspended between requests and situations that originate one injustice over another.
"I am very interested in the crumbling and fragmentation of modern political institutions and how this affects people's lives, especially in countries like ours, where this institutionality is still under construction. I am concerned about this moment in history because a kind of dislocation is emerging between those societies that still aspire to achieve the modern liberal project and others in which this project is beginning to crack, societies that are running out of ground. These phenomena generate part of contemporary political instability, especially in the West; it is the transition from structured, hierarchical, and formal societies to much more informal societies," said Pablo Mora.
From April 21 to July 14, visitors can visit the winning artistic proposals of the third edition of the Fragmentos call in its two modalities: emerging artist and artist with a long trajectory. The proposals were selected by Julieta González, curator, and researcher (Venezuela); Nelly Richards, cultural theorist and critic (France & Chile); and Daniel Castro Benítez, director of the Museo Nacional de Colombia from 2015 to 2021 (Colombia).
With the work "Aún tendría que haber luciérnagas", Fernando Prats invites us to reflect on human fragility and the resistance of people who confront barbarism. From an investigation located in Buenaventura, Prats' work proposes a route that dialogues with "Fragmentos" and presents the recognition of the tragedy of forced disappearance from a community of victims and their testimonies view.
"The title of this exhibition presents us with the image of the last hope that, in this case, seemed pertinent to me from the issue of forced disappearance. This drama transgresses our Latin American continent, and it is from there that we situate this proposal. The phrase corresponds to a quote by the poet Paul Celan from the series of poems Soles filamentos (1968), which has been a reference in my work, especially when referring to issues related to memory. Fireflies can symbolize a luminosity that, amidst the darkness of these events, serves as a metaphor to evoke awareness of resistance, the value of life, and the necessary defense of human rights," says Fernando Prats.
Pablo Mora's "Leviatán" embodies the lost memory of the victims due to the negligence of the Colombian State. In his proposal, he presents an installation where the stratifications of clips, like sandbanks, embody a State "of eternal times," a counter-archive that evokes lives lost to the conflict or suspended between requests and situations that originate one injustice over another.
"I am very interested in the crumbling and fragmentation of modern political institutions and how this affects people's lives, especially in countries like ours, where this institutionality is still under construction. I am concerned about this moment in history because a kind of dislocation is emerging between those societies that still aspire to achieve the modern liberal project and others in which this project is beginning to crack, societies that are running out of ground. These phenomena generate part of contemporary political instability, especially in the West; it is the transition from structured, hierarchical, and formal societies to much more informal societies," said Pablo Mora.
