A Hypothetic Curator’s Proposal
Part I
There was only one exhibition in the Museum of Contemporary Art (MAC) of Panama, and it was called FotoClub Panamá. It included the works of fifteen artists that were chosen by the curator Raúl Flores displayed at the floors of the museum (Booth, 2014). The exhibition was part of the cultural project FotoSeptiembre 2018, which had multiple expositions in different museums in the city.
FotoClub Panamá had three clear themes. One was the relationship between body and landscape with the urban city of Panama as background; the second one was romantic landscapes taking the countryside as an escape for romance and, the last one was the modern society of Panama.
Figure 1 Entrance to MAC Panama.
As the name of the exhibition states, FotoClub Panama focused on different expositions photography. Most of the works were examples of digital photography; however, there were also representations of photomontage, photo-performance and one piece of the category photo installation.
There were 50 pieces displayed on the two floors of the museum. The first floor reflected the themes of bodies, landscapes, and romance. The first floor consisted of two different rooms with the works of 9 different artists. In the first room, the series of the artist Alfredo Belda was prominently displayed at the back wall as they included audio poems to hear along with the images. On the other hand, the second room emphasized the works of two different artists such as the photographs by Alfredo Martiz from the series HYBRID STATES, and the photograph, by María Fernanda González, called Echar un Polvo (2017) which are displayed both on separate walls.
Figure 2 Strange Attractor 2012 by Alfredo J. Martiz.
The second floor had two different rooms displaying the images of 6 various photographers. The art pieces prominently displayed were unique types of articles at the exhibition. For instance, the series called Metamorfosis, the single representation of photo-performance, by Valeria de Sanctis was one of the works with a significant focus on the second floor being the only exact sequence of FotoClub Panama. Also, the other piece emphasized was the presentation of a photo installation without a title by José Braithwaite, held at a complete room with objects hanging from the ceiling and three different images.
Figure 3 Serie Metamorfosis by Valeria de Sanctis.
Part II- Categories
Surrealism
In this category, we find pieces in which objects or animals could be appreciated in spaces where they should not be. That is why the museum must emphasize that in this type of works, the creativity of the artist is much more exploited since they imagined these ordinary objects in unusual ways (Booth, 2014). Two photographs characterize the representation of this movement (surrealist) that started in the 1920s, which are Bailarina Vintage (2018) and Listo para la Batalla (2018), both pieces by the photographer Paco Santana.
Bailarina Vintage (2018) (Figure 4) is a photo montage where a dancer seems to be ready for her show. The photograph presents the contrast between nudity and surrealism. This piece enters this collection because the focus of the picture is not the dancer itself but the orange jellyfish that conforms her dress, highlighting her current emotions.
Figure 4 Bailarina Vintage (2018) by Paco Santana.
Listo para la Batalla (2018) (Figure 5) is also a photomontage that transports the viewer to those times where gladiator were the most awarded people in the village as they believed that the warriors had a divine presence in all of them. As it may be seen, the warrior is prepared for the battle with snails as swords and a turtle shell as a shield.
Figure 5 Listo para la Batalla (2018) by Paco Santana.
Nudes
This category is one of the most relevant regarding expression since it is commonly believed that clothing is required to protect our bodies from the weather or even other people. However, most of the time, clothes do not allow us to express ourselves, as it should be free. As a result, we must take the spectator to a ground where the most important thing is to be nothing but themselves. Three different representations have been chosen for this category by artists Alfredo Belda and Carlos Bracho.
The works of Alfredo Belda could represent an exceptional and innovative element for the museum since they combine the different styles of digital photography and audio poetry to situate the spectator in the exact context the artist wants.
El Equilibrista (Figure 6) by Alfredo Belda is our first selection for the category because the purest contact of a human being is with nature. The natural world is what is around us, what we see every day, our home. However, most importantly, it represents the freedom we must possess at every moment.
Figure 6 El Equilibrista by Alfredo Belda.
When we see La Poesía me Debe (Figure 7) by Alfredo Belda, we capture how the human being can acquire all the knowledge in the world, but at the same time, be so ignorant in believing there nothing else to learn. For instance, the title of the photograph represents much more than simple poems.
Figure 7 La Poesía me Debe by Alfredo Belda.
Panamanian Culture
Since MAC is a museum located in the city of Panama, we want to highlight the work by artists that reflect or transmit a representative message of the Panamanian and Latin American culture. The actions of art considered for this category are from the series of local artists like Carlos Mora and Alegre Saporta, whose photographs have caught the exact representation of the national society.
Comadres (Figure 8) by Carlos Mora is more than a representation of Panamanian culture, is also a depiction of Latin-American culture. The title of the photograph even tells us the context where both ladies are friends. Latin-Americans are characterized by the continuity of traditions or relevant events. We chose the piece because it is a depiction of many characteristics and manners of the region.
Figure 8 Comadres by Carlos Mora
Texturas Coloniales (Figure 9) by Alegre Saporta, is the typical “tendedero” or clothes rack of the communities where clothes are hung outside the house to let them dry and then use them the next day. The photograph reminds us of those women who spend hours and hours washing the clothes or even doing other chores at the house but working to keep their families happy and clean. This is a clear representation of everyday reality for many people in Latin America and especially in Panama.
Figure 9 Texturas Coloniales by Alegre Saporta.
Miradas (Figure 10) by Carlos Mora is a work of art that has been selected to make emphasis on the male gender and how its members could be captured disrespectfully at a woman. The man pictured looks at the lady the same way a hunter looks at his prey. We decided to use this piece to punctuate that women are more than human beings; they are synonyms of life and creation; they are not the companion of men because females are capable and independent.
Figure 10 Miradas by Carlos Mora.
Modernity Meets Minimalism
The way we interpret objects has changed throughout the years, but this always plays a fundamental role in our lives. Things that we see around us or things we value could have a deeper meaning than what we initially think. Photographers like José Gregorio León and María Fernanda González have developed a new way of observing objects. They have created a new modern meaning for everyday items through digital photography from a minimalist perspective.
José Gregorio León provides us with simple photographs of a cellphone and a comb. However, those photos have deeper meanings or interpretations (Figures 11 & 12). A cell, today, might be considered essential for life since they represent instant communication and connection to the world. The device displayed, has a broken screen, adding a touch of imperfection to the image. The visual element of the damaged mobile could be translated to the idea that someone has lost connection.
On the other hand, the comb’s evolution is a story one must tell. It all started with a flat hair comb designed to style straight hair. Now, with multiple types of hair, there have been created different hair combs to provide diversity. The minimalist approach of the pictures allows the viewer to draw his/her interpretations in a world where everyone has their perspective.
Figure 11 No title, by José Gregorio León.
Figure 12 No title, by José Gregorio León.
Echar un Polvo (Figure 13) is part of the series Panameñities by María Fernanda Gonzalez. In this photograph, the use of a jar of talc and attractive colours deliver two unique concepts in the simplest of ways. First, Latin America is unfortunately known for its production of cocaine and Panama has always been one of the biggest manufactures of the drug. As a result, the national population has fallen into the hands of this harmful drug, and here, the artist compares it due to its similarity with talc that can be appreciated because of the slight change in texture on the image. Also, the photograph reflects another famous Panamanian saying. The title of the piece “Echar un Polvo” in Spanish refers to the consummation of a sexual act. All in all, Gonzalez can transmit different messages through a general object in a modern and minimalist perspective.
Figure 13 Echar un Polvo by María Fernanda González.
Architectonic designs: Instantaneous Amusement
Architecture conveys art in the form of a model. Being able to appreciate attractive structures, carries the examination of details, shapes, and styles, which make them so appealing. The artist Francisco J. Rodríguez takes us into a new journey where architectural pieces are the main center of his photographs. His interest in capturing little details comes from the analysis of modern engineering and construction materials. Also, the search for perfect angles helps to picture the emotions experienced at that moment.
In his work Curmaya (Figure 14), Rodríguez highlights the beauty of modern architecture and how it leaves everyone breathless, thinking it is a fantastic view. The artist accentuates the shape of the structure by making it black and white and the different tones in the lighting of this picture taken at the right moment in time.
Figure 14 Curmaya by Francisco J. Rodríguez
In Gatún 05 y 06 (Figure 15), Francisco Rodríguez exposes this set of floodgates located at the Panama Canal. The lack of colors gives power and awesomeness to the picture with the contrast of the sky on top and the water of the lake at the bottom of the piece. This photograph should have a particular spot in our category since it not only represents one of the world’s most significant engineering features but also the pride of a nation after fighting for so long for the rights of owning the Panama Canal.
Superposición (Figure 15) shows one of the most beautiful and modern structures built in Panama. Under the name of Biomuseo de Panama, this abstract building has received various appreciations from the Panamanian society due to its architectonic complexity. Even though Rodríguez only captures a section of the museum, it is enough to show the different lines and shapes that compose the strange structure. The photograph’s importance for Panama and the way the artist caught the unusual beauty of the building as a colourless image, are the main reasons why this work should be part of the exhibition.
Figure 15 Gatún 05 y 06 (left) and Superposición (right) by Francisco J. Rodríguez.
Part III
Buddhism in the countries China, Japan, and India (or middle east area).
Figure 16: Western Paradise of the Buddha Amitabha. Northern Qi Dynasty, China
The artwork is called the Western Paradise of the Buddha Amitabha. Created by the Northern Qi dynasty (China), this sculpture was created out of limestone that is still left with small traces of pigment. This sculpture, out of many, was found from a southern Xiangtangshan cave. According to the label (found at the Freer Gallery), this sculpture is meant to depict the “Pure Land” and the Buddha Amitabha, who is shown raising his hand in the center of the artwork. Buddha Amitabha is arranged as the central figure “to create an integrated pictorial unity” within the photo (Masterpieces of Chinese and Japanese art 38). In this artwork there is one technique used, it is “one of the most frequently used of illusionistic techniques of the Pure land. It is used as an attempt to enhance visualizations practices; by making the viewing object, Buddha and his Pure land more realistic and therefore believable”
(Lee 161). Some formal characteristics that are known in Chinese Artwork that can be seen in this artwork. One of the characteristics is “symmetry and orderliness of the artwork” this artwork has a central focus which is Amitabha. The second characteristic this artwork follows is control and manipulation of the material, in this artwork there is strategic craving in the stone. The final characteristic in this artwork is the linearity and dense design, in this artwork is crowded with detail and figures causing it to be more concentrated.
Figure 17: Guardian Figure. Kamakura period (1185-1333), Japan
Figure 18: Guardian Figure. Kamakura period (1185-1333), Japan
The artwork (17 and18) is called the Guardian Figure or Niō. Created in the Kamakura period (Japan), theses sculptures were created and carved out of wood. According to their label (found at the Freer Gallery) these sculptures were originally staged at the entrance gate of the Ebaradera, a Buddhist temple, which is now located in the city Osaka Japan. These sculptures are also known as the “protectors of the Buddhist universe” They were used to ward off evil spirits and protect Buddha and his followers. Within the “Kamakura period, sculptures reveal a new concern for realism and dynamic action. This pair of guardian figures, or Niō, exhibit the tense exaggerated musculature and anatomical distortion which resulted in deities of superhuman appearance” which can be seen through the popping veins, fingernails and toenails (Masterpieces of Chinese and Japanese art 90). These two sculptures were made as a unit; however, they were created with different poses and differently shaped mouths. One has an open mouth in a fierce way, saying “ah” and the other has a closed mouth saying “om.” These two sounds are apart if an ancient Sanskrit language. The “ah” sound is one of the first sound in that language and the “om” sound is the final.
Figure 4: Scenes from the Life of Buddha. Kushan dynasty, India (Current Day: Pakistan or Afghanistan) 2/4
The artwork is called the Scenes from the Life of Buddha. Created in the Kushan Dynasty (Pakistan or Afghanistan), these sculptures were carved out of stone. These sculptures are from “a set of four panels depicting the four key moments in the life of the Buddha his birth, his enlightenment, his first teaching, and his passage into Nirvana” (Lopez 124). The first sculpture in this photo depict the moment of the birth of Buddha. “The center section depicts the miracle. Queen Māyā stands in the center, supported by a lady in waiting on her left… the infant already has a halo; this could signify his sanctity as the bodhisattva, but more often it signifies his enlightenment, which did not occur until thirty-five years later” (Lopez 135).The second sculpture depicts “the Buddha’s enlightenment, not the scene of silent meditation described above, but the dramatic and violent moment that preceded it: the attack of Māra and his minions. Māra, the deity of desire and death, is seeking to prevent the future Buddha from destroying desire and escaping from death” (Lopez 124). Within these two sculptures they demonstrate some of the known characteristic for Indian Art; those characteristics are: symbolism, religious themes, and interest in the human body.
References
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Booth, K. (2014). The Democratization of Art: A Contextual Approach. Visitor Studies, 17(2), 207–221.
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“Guardian Figure.” Freer Gallery of Art & Arthur M. Sackler Gallery, asia.si.edu/object/F1949.20/#txtMetaData. Accessed 20 Feb. 2020.
“Guardian Figure.” Freer Gallery of Art & Arthur M. Sackler Gallery, asia.si.edu/object/F1949.21/. Accessed 20 Feb. 2020
Lawton, Thomas, et al. Beyond the Legacy: Anniversary Acquisitions for the Freer Gallery of Art and the Arthur M. Sackler Gallery. Washington, Dc, Smithsonian Institution, Cop, 1998.
Lee, Sonya S. Surviving Nirvana: Death of the Buddha in Chinese Visual Culture. Hong Kong, Hong Kong Univ. Press, 2010.
Lopez, Donald S, et al. Hyecho’s Journey: The World of Buddhism. Chicago, The University Of Chicago Press, 2017.
Masterpieces of Chinese and Japanese Art: Freer Gallery of Art Handbook. Washington, Smithsonian Institution, 1976.
“World Myths and Legends in Art (Minneapolis Institute of Arts).” Www.Artsmia. Org, www.artsmia.org/world-myths/artbyculture/nio_background.html. Accessed 20 Feb. 2020.