Portal de Cartagena
www.portaldecartagena.com
Councillor for Culture, Rosario Montero, has filed with the young Colombian artist, Marco Mojica, the exposure within the programming of The Sea of Art, may be seen in the Culture Center CajaMurcia throughout this month.
In the words of author, painting and drawing are still a very efficient means for the conceptual guidelines of my work, then let me introduce such appropriation within the hegemonic tradition of Western painting as illusionist character.
By using appropriation as a mechanism decontextualizing me less interested in the paint and painted over the image.
All my work becomes that of a particular experience with the collage, the juxtaposition of images and meanings capable of generating a disturbing and ironic tension in the reading of its contents.
The sources of drinking Mojica variety ranging from magazines, art magazines, picture books, catalogs for engineers, Internet files, videos and even photocopies.
In his photography work is present in an indirect way: as a document of second-hand, as far from the original recording from which starts the process of each work, works of art of ironic, full of humor that allows me to disarm and give twists, parallel narratives and sometimes bizarre at all the information we receive and viewers of art.
Fragile Conspiracy will be on display at the Cultural Center of CajaMurcia until 31 July, Monday to Friday from 11.00 to 13.30 hours and from 19.00 to 21.00 hours.
Biographer to DE MOJICA
The young Colombian artist Marco Mojica, who won the First Prize for Painting Fernando Botero, born in Barranquilla in 1976.
Marco Mojica works are a breath of simplicity and clarity compared to new modes of artistic representation based on new technologies.
However, behind this facade, the paintings and drawings by the artist hiding a large conceptual and ideological depth.
Mojica's work appears perfectly contextualized in time and space, these being the XXI century Latin America and the Caribbean.
Thus, the analysis of his work takes a turn perfectly determined to always be based on two related premises.
From these, take postmodernism as a existentialist shaft work.
One of the artistic practices of postmodernity is the appropriation of images, which are remade and reinterpreted from a new point of view.
Marco Mojica endorses images from visual culture prevailing in our society, magazines, advertising, illustrations, videos, internet "through which creates an imaginary self from which to work.
When these images are accumulated and assimilated by the artist out of context, they acquire a new dye, which is one that the artist want to give.
For Mojica, these images are loaded with a heavy dose of irony, a sense of humor that shifts between the disturbing and dreamlike.
In a higher stage of analysis of this Colombian painting, the question of the physical and conceptual distance of the images depicted.
The images taken over by the artist are from other works of art, which the artist can only be accessed via graphic documentation.
The original images are framed in a context different from the photograph of which is appropriated by the artist, which involves the appearance of a triangle between himself depicted in the photograph depicted, and painting by the artist.
This triangle generates a multidirectional conversation between the different elements that compose it, raising questions like: what are the relations between the three images, how they are understood each of them separately in different contexts?, What nuances acquires each image to be filtered through the sieve of a culture that is alien to him?
And, indeed, what status becomes a work of art created from the image of another work of art?
Thus, drawing and painting became mere instruments of representation, that is, are not ends in themselves, but act as carriers of a concept that transcends the boundaries of the purely physical.
Marco Mojica has performed several solo exhibitions, among which include the following: 2004, Marco Mojica, Paintings & Drawings Museum of Modern Art in Barranquilla.
2005, Image Gallery El Museo, Bogota.
In addition, his work has been awarded the following awards: 1998, August First Prize Project Group Three, Fundación Gilberto Alzate Avendaño, Bogotá.1999, Honorable Mention Art Salon V University, Bogota.
2001, Honorable Mention, First National Encounter of Young Art, University of Caldas, Manizales.2003, Second Prize, Two-Dimensional Art Salon, Fundación Gilberto Alzate Avendaño.
Bogotá.
2005, First Prize, Fernando Botero, Bogotá.
Source: Ayuntamiento de Cartagena
Privacy policy
- Legal notice
- Cookies