Este próximo jueves 2 de agosto se estará inaugurando en el Museo de Arte de
Puerto Rico las mas reciente exhibición de la escultora Ada Bobonis. La muestra que lleva por titulo “Estados Sensibles” ha sido curada por Marysol Nieves, invitada a este proyecto. Ada Bobonis tiene una trayectoria de sobre 15 años y a realizado diversas exposiciones individuales, colectivas asi como piezas de arte publico. En esta nueva instalación intenta conversar con el público acerca de la naturaleza y sus procesos de cambio.
Datos de la exhibición
- Comienza el 2 de agosto y finaliza el 28 de octubre
- Se presenta en la sala de proyectos del MAPR
Puede ver el texto de Marysol Nieves acerca de la obra al tocar el enlace de abajo
The installation Sensible States functions as an architectural mise-en -scene intended to explore ideas about the nature and process of change. The title refers to an inherent state of openness, susceptibility, and vulnerability to change. In the fields of mathematics and physics this sensibility to change is commonly referred to as the theory of chaos—the appearance of seemingly random or chaotic behavior in an otherwise lineal system. Climate and weather systems are common examples of this phenomenon. For Bobonis, chaos theory provides a theoretical framework for meditating on the ever presence of change in our lives and in nature.
Upon entering the space created by Bobonis the viewer discovers a topsy-turvy world in which things appear to be fine on the surface but upon closer inspection are literally upside down—down is up and u p is down. Two seemingly identical wooden structures or bleachers dominate the space, one installed right-side up on the floor and its reverse suspended from the ceiling above. The effects of the space are further accentuated by a grayish blue carpet that suggests a three-dimensional rendering of an architectural blueprint or a more poetic reference to the heavenly skies above, while the ceiling has been covered with a solid white panel that further confounds the viewers expectations and upsets the natural order of things. The effects are akin to those of the artist’s conic installation, Sobrecielo (2000)—an ethereal and fantastical garden sprouting not from the ground but from the ceiling and currently installed in the Museums Permanent Collection Galleries.
In Sensible States, Bobonis’s ongoing interest in exploring the traditional relationship between the individual and the work of art is heightened by the scale and dimensions of this installation which physically surrounds the viewer in a way that asserts its architectural presence. The artist provides us with a series of visual clues for navigating the s pace through a number of photographs of neighboring buildings still under construction. Printed on vellum paper, these delicate images are akin to sketches or visual markers intended to define spaces still in transition. The grid-like scaffolding that punctuates each of these images formally recalls the central structure of wooden bleachers and further imbues the installation with a sense of fragility and contingency. Both function as indefinite spaces still subject to change and modification Likewise both are powerful metaphors for musing on the nature of life, contemporary culture, and our immediate surroundings.
—Marysol Nieves. Guest Curator
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