ExhibitionOctober 1, 2021
Parentheses. Tales from Uncertainty
Parentheses. Tales from Uncertainty at the Spanish Cultural Center in El Salvador is the result of the homonymous call launched in February, with 51 art projects selected from the 18 countries where Spanish Cooperation is present through the Network of Cultural Centers (AECID), the Spanish Academy in Rome and the Training Center in Cartagena de Indias (COL), and which seek with this project to be a direct agent in supporting the recovery of the cultural sector. The exhibition, which can be visited until October 27, was curated by Suset Sanchez and cultural managers Nur Banzi and Macarena Perez. They made a careful selection of the artistic proposals that are part of the traveling exhibition.
The exhibition shows a broad spectrum of personal and collective considerations related to the pandemic's plural experiences in different geopolitical contexts. These projects, which bring us closer to the uncertainties of a present time traversed by the political, social, and economic crises brought about by the exceptional global situation we are experiencing, approach the complex post-covid-19 existential future from the aesthetics, poetry, and critical discourse fields.
Several works in the exhibition introduce us to such important and urgent issues to be addressed in public policies as mental health, the lack of resources in the treatment and research of other major and devastating diseases of the XX-XXI centuries such as cancer or AIDS, shown in the works of Milko Delgado (Panama), Meera Sachani (Panama), Tania Madrigal (El Salvador), El Precipicio Films (El Salvador), Rosalía Banet (Spain), Rodrigo Figueroa (Bolivia), Ariel Sosa (Honduras) and Movimiento en Colectivo/MEC (Colombia).
Other works address the crisis and precariousness of life and working conditions in the professional sectors of culture with the closing of museums, libraries, cinemas, concert halls, theaters, and the suspension of festivals, biennials, fairs, etc. Reflections of this are works such as those of Violeta Mora (Honduras), Miguel Oniel Díaz (Dominican Republic), and Silvia Jácome and Adriana Jácome (Cuba).
It is important to highlight within the projects included in the exhibition a set of collective experiences and poetic strategies to recover the memory of the people who died of covid-19 and accompany them in a symbolic farewell that could not take place due to the suspension of rituals around death. The prohibition of funerals, among other popular and collective traditions. The 22-meter embroidery of the Colectiva para Remendar (Chile) is building a memorial with the names and stories of the pandemic victims. At the same time, the very act of coming together to embroider becomes a time of shared mourning, a farewell that pays homage to the relatives lost through each stitch.
The exhibition shows a broad spectrum of personal and collective considerations related to the pandemic's plural experiences in different geopolitical contexts. These projects, which bring us closer to the uncertainties of a present time traversed by the political, social, and economic crises brought about by the exceptional global situation we are experiencing, approach the complex post-covid-19 existential future from the aesthetics, poetry, and critical discourse fields.
Several works in the exhibition introduce us to such important and urgent issues to be addressed in public policies as mental health, the lack of resources in the treatment and research of other major and devastating diseases of the XX-XXI centuries such as cancer or AIDS, shown in the works of Milko Delgado (Panama), Meera Sachani (Panama), Tania Madrigal (El Salvador), El Precipicio Films (El Salvador), Rosalía Banet (Spain), Rodrigo Figueroa (Bolivia), Ariel Sosa (Honduras) and Movimiento en Colectivo/MEC (Colombia).
Other works address the crisis and precariousness of life and working conditions in the professional sectors of culture with the closing of museums, libraries, cinemas, concert halls, theaters, and the suspension of festivals, biennials, fairs, etc. Reflections of this are works such as those of Violeta Mora (Honduras), Miguel Oniel Díaz (Dominican Republic), and Silvia Jácome and Adriana Jácome (Cuba).
It is important to highlight within the projects included in the exhibition a set of collective experiences and poetic strategies to recover the memory of the people who died of covid-19 and accompany them in a symbolic farewell that could not take place due to the suspension of rituals around death. The prohibition of funerals, among other popular and collective traditions. The 22-meter embroidery of the Colectiva para Remendar (Chile) is building a memorial with the names and stories of the pandemic victims. At the same time, the very act of coming together to embroider becomes a time of shared mourning, a farewell that pays homage to the relatives lost through each stitch.
Gallery
