SENTIDO X SENTIDO = CINCO

Foreword

Luigi Marrozzini

It is for me a great pleasure to present this important exhibition of five Latin American artists.  Their starting points respond to different sensibilities but they are united by a universal common language:  that of talent.  It is my greatest hope that this event which is produced within the frame of the IX Biennial of San Juan of the Latin American Print be a motive for inspiration and positive communication between the public, the artists and their works.

Introduction

Ana Tiscornia

February, 1991

Latin America is diversity par excellence.  Diversity in social story, in symbolic, religious and aesthetic practices which manifest at the same time traditions and mixtures in operation as its complex scaffold is articulated.  It is also the sociocultural fruit of an industrialization atempting to steam roll all prior differences in the search to consecrate its truths, as if reverenced by an "irrecusable destiny".  Aborigine cultures, colonial cultures and the demands of modernity constitute in the end a difficult identity, where not just the differences are the imperative of the difficulty but also the similarities.  The possibility of being, or at least the naturalness of being has had limited space.  But notwithstanding, this is also our profile and without cushioning the consecuences that dependence entails, its monolithism has spaces where our identity is also built.  Perhaps "Sentido X Sentido = Cinco" is one of those spaces, one of those correlated possibilities of that hope of integration we cling to so dearly.  

From the artistic work of five Latin American women with different journeys - countries of origin, places of living, socioeconomic environments, religious beliefs, ec. the proposal is precisely to assume both the diversity and the similarity (which is also not unfamiliar to the state of being a woman) and make of this show a project.

A project of integration which before anything else accepts itself as an encounter.  An authentic recognition of the many worlds that inhabit us and inhabit our continent, and of the ethical and aesthetic imperatives rooted in the symbolic constructions with which these worlds defend their survival.

Beyond specific individual readings, there then exists the possibility of approaching this exhibit as a ritual space where the daily routine generates a dialectical dialogue between the interior and exterior in which objects are humanized and the imaginary dares defy supposed realities.

The space of intersection where the conjugation of the ceremony, the trip, the animation, the pure matter, the concept, the myth, the sign and the primary drive become an exercise of syntax for reflection. That is how the least premeditated in the meeting of the dissimilar can become an act of precise premeditation:  the exact presentation of a reality that involves equally the tracking of the origins, the appropriation of the present, the timeless dream or the skepticism of the future.

This is to say, the encounter of this contemporaneousness so many times adrift with its dynamism and its contradictions, its inequalities and its multiple truths.  Then this is about restoring integrity.