Exhibition
Why advocate for the vitality of matter?
22 Feb 2024 – 24 Mar 2024
Free admission
Address
- travessia de sant Antoni 27
- Barcelona
Catalonia - 08012
- Spain
Travel Information
- Fontana
An installation inspired by the deepest encodings found in the quarries of Cantera in La Bisbal d'Empordà. It combines processes, sounds, traces and a video to create a dreamlike landscape that actually represents spaces corrupted by new economies.
About
Why advocate for the vitality of matter? - Ana Lucia Garcia Hoefken
Curated by Fabrizio Contarino and Maria Fernanda Marquez Durand
Souvenir
Opening February 22nd at 19hs
From February 22nd to March 24th 2024
open by appointment only: espai.souvenir@gmail.com
www.espaisouvenir.com
Why advocate for the vitality of matter? is an installation inspired by the deepest encodings found in the quarries of Cantera in La Bisbal d'Empordà (Girona) in Catalonia. It combines processes, sounds, traces and a video to create a dreamlike landscape that actually represents spaces corrupted by new economies. Ana Lucia invites us to recognise matter as a body, to create new dialogues, through the senses, situated in the body, she operates through a sensorial dimension for a social, political and geographical understanding of matter and its extraction.
What goes through your hands and senses when processing a clay since you identify it in the landscape? What does it mean to be in tune with your landscape? The vitality of clay transcends with many possibilities and trajectories.
The artist seeks to highlight the properties and qualities of clay to create new dialogues between units of matter, to understand its relationship with the environment and to dismantle various cultural representations imposed with the materialities and stages of traditional extractive processes in spaces corrupted by new economies. The exhibition generates a sensorial journey that seeks to reveal the fragility of matter and the informative load that accumulates over time.
The red, yellow and grey clay stones made and loaded with information that accompanies, corrupts and intervenes the quarries make reference to and parallel Ana Lucia's uncertain migratory journeys. The clay records (or traces) in the installation are presented as depleted, reflecting the economic pressure of overproduction. In this context, the quarries are threatened, as constant production is prioritised and once depleted, the community loses interest. In a world fragmented by ecological desensitisation it seeks to politicise the impact of matter on our lives.
Maria Fernanda Marquez Durand
