Portal de Cartagena
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First Prize winner Fernando Botero is also in Cartagena, in the Sea of Arts, Marco Mojica.
His work is a breath of simplicity and clarity compared to new modes of artistic representation based on new technologies.
But behind that facade, paintings and drawings by the artist hiding a large conceptual and ideological depth.
His work is well contextualized in the XXI century Latin America and the Caribbean.
Postmodernism is the core existential 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, the appropriated out of context and new meaning.
Fragile conspiracy will be exposed in the Cultural Center of Cajamurcia in Cartagena, from 14 to 31 July, where paintings and drawings will be the real protagonists.
All his work comes from a particular experience with the collage, the juxtaposition of images and meanings capable of generating a disturbing and ironic tension in reading its contents.
In the initial stage of work, the qualities of this medium, which are contextualized images, lets you create sketches for future works.
For this reason it became a consumer of images, creating a sort of personal archive of all visual record that I think has potential in the implementation of future work.
The sources of variety ranging from magazines, art magazines, picture books, catalogs for engineers, Internet files, videos and even photocopies.
The picture 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 unexpected twists, parallel narratives and sometimes bizarre at all the information we receive and viewers of art.
At this point it is pertinent to ask the question: What is to be original in the context of art?
We can define it in two ways: first, as "something else has ever done," which by the nature of our times is almost impossible to accomplish such a feat, and secondly, to define it within the boundaries " the original and the copy. "
The latter is what interests me: in the postmodern, the artist uses many mechanisms, including the appropriation, for blurring those boundaries and challenge conventional foundations that underpin the art as a historical category.
Is not a matter of interpretation.
This is how an existing image, with authorship, loaded with all the visual and theoretical conventions, or even sacred, can be subverted and enter a different visual speech in favor of irony and humor, with songs that often give by unquestionable.
MARCO MOJICA
Young painter Colombia (Barranquilla, 1976), winner of First Prize for Painting Fernando Botero.
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 images 'original' 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, "Images" 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: Mar de Músicas
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