ART TALK “Intimacy Hierarquies” by Luis González Palma & Graciela de Oliveira at Instituto Cervantes, 48, Hanuman Road, Connaught Place (CP) > 7pm onwards on 8th February 2016
Time : 7:00 pm
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08/02/2016 19:00
08/02/2016 20:30
Asia/Kolkata
ART TALK “Intimacy Hierarquies” by Luis González Palma & Graciela de Oliveira
Event Page : http://www.delhievents.com/2016/02/art-talk-intimacy-hierarquies-by-luis.html
Instituto Cervantes, 48, Hanuman Road, Connaught Place (CP), New Delhi - 110001
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Venue : Instituto Cervantes, 48, Hanuman Road, Connaught Place (CP), New Delhi - 110001
Venue Info : Events | About | Map
Metro : Nearest Metro Station - 'Rajiv Chowk' (Yellow Line and Blue Line)
Area : Connaught Place (CP)
Event Description : Conference: “Intimacy Hierarquies” by Luis González Palma & Graciela de Oliveira
As part of Plastics Arts and Architecture Series.
In collaboration with: Travel Photo Jaipur
Synopsis: The Guatemalan photographer Luis Gonzalez Palma, and the Argentinian artist Graciela de Oliveira will talk about their artistic careers, showing many personal projects, as well as those who have carried out jointly such as "Intimacy Hierarchies".
Art statement by Luis González Palma : “From the beginning, my work has been a reflection on the look. How do we construct our internal experience of a couple of eyes fixedly staring at us? How are the shadows, brilliance and all implicit geography within each photograph interpreted and elaborated inside of us? If the way we look is concocted from the social and cultural, we may conclude that all looks are political and all artistic production is subject to this kind of judgment. The glance as power. From this point of view, I feel that the work of art is a
possibility of evidencing this, of questioning the way in which we look, of interrogating the history that has produced these "glance grades" and, therefore, the ways in which we react to the world. In my artistic process I have tried to create images that invite the observer to examine by means of what I call "emotional contemplation"; assigning, through the beauty in them, the meaning of their shape. I have constructed scenarios and I have modified certain countenances through the years in order to create images that would permit other perceptions of the world, other ways of understanding and modifying it internally.
In the first period of my work, I focused on creating certain metaphors by means of frontal portraits of fixed, direct stares, that exposed the dignity of the models and, simultaneously, made evident the fragility of their being: the countenance was a pretext to represent human condition. Portraits in which the loneliness and yet emotional firmness of the subjects could be sensed and in which the glance established a space of contradictions and ambiguities. In this series of portraits, mainly of Guatemalans, the countenance served as a mirror in which I looked at myself, wondered and searched for meaning. In those portraits, the strength
of the glance lies on the power it has to reverse my own and this power reaches its most intense value if it manages to reverse the spectator’s as well, with the same strength and impetus as it presents to him. To the observer, to discover himself in this internal, silent glance, accompanied by this immobile countenance that stares back at him, means to become aware that we all share a common destiny. A reflection on beauty as fragility, memory as pain and time as a continuous fall. Photography presents death with open
eyes.
At present, after capital life changes, both emotional and geographical, I have been working on a different representation, In collaboration with my partner and wife, Graciela De Oliveira, always using my personal obsessions as a starting point: beauty as a political power; religious experience loaded with love and pain, as a reading of the articulation between man and world; in a fallen society of vacuous interpersonal relations, in which healthy bonds are scarce given the complexity of emotions. This whole new series, entitled “Jerarquías de Intimidad” (Intimacy Hierarchies, 2004- 2005) was produced in Argentina. In it, I have tried to represent some scenes charged with significant psychological experiences, "empowering" them (through the title of the photo) with dialogues that are part of a silent script in apparently disconnected films. An essay consisting of mystery- filled images, also full of tension, and that present a halted, disturbing drama in which each photo acts as an instant of a dream that is prolonged and in which timeless figures are like wounds of the memory.
In each of the images the visible body and the object are vehicles to enter a secret but bright world, openly presented although encapsulated, that refuses touch but offers itself to the glance, in the same way as religious iconography. The set up presents the time of the unconscious with its free association, its longings and fears; human acts have been intertwined inside an unreal world which is out of phase; death is staged again inside the sacred radiance of the golden glaze.
I have conceived these projects, the most recent ones, with the desire that image could contain, and somehow highlight and express, the invisible. Word and fundamental experience that sustains this whole visual adventure. Like that which is unseen when seen; unspoken when spoken, like all those silences that a symphony contains; this work is an intimate and very personal attempt at shaping the ghosts that rule personal relationships, religious hierarchies; well, shaping all those that rule politics and life”.
About the artists:
Luis González Palma was born in Guatemala in 1957, and he currently lives and works
in Cordoba, Argentina. Among his personal exhibits we can mention: those displaying his personal works are: The Art Institute of Chicago (USA); The Lannan Foundation, Santa Fe (USA); The Australian Centre for Photography, Australia; Palacio de Bellas Artes, México; The Royal Festival Hall, London; Palazzo Ducale di Genova, Italia; MACRO and the Castagnino Museum, Rosario, Argentina; photographic festivals such as Photofest in Houston, and in Bratislava, Slovakia; Les Rencontres de Arles, France; PhotoEspaña,
Madrid; Singapur, Bogotá, San Pablo and Caracas, among others. He has participated in collective exhibitions such as the 49 and 51 Biennial in Venecia; Fotobeinal de Vigo, XXIII Biennial in Sao Paulo, Brasil, V Biennial in Habana; in the Ludwig Forum for International Kunst, Aachen, Germany; The Taipei Art Museum, Korea; Museo de Bellas Artes, Buenos Aires, Argentina; Daros Foundation, Zurich, Switzerland; Palacio del Conde Duque, Madrid, Spain; and the Fargfabriken, Stockholm, Sweden. His work is included in various public and private collections, such as The Art Institute of Chicago, USA; The Daros Foundation,
Zurich, Sweden; La Maison European de la Photographie, Paris, France; The Houston Museum of Fine Arts, USA; Fondation pour l’Art Contermporain, Paris, France; Fondazione Volume!, Rome, Italy; Biblioteca Luis Ángel Arango, Bogotá, Colombia; The Fogg Museum in Harvard University, Boston, USA; The Minneapolis Institute of Art, USA; Kiyosato Museum of Photographic Arts, Japan. He received the Gran Premio PhotoEspaña “Baume et Mercer” in 1999 and collaborated in the staging of the opera production “The Death and the Maiden” in the Malmö Opera in Sweden in the year 2008. He has three published
monographs of his work including “Poems of Sorrow” (Arena Editions, New Mexico, USA), and “The Silence of the Gaze” (Peliti Associati, Roma, Italy) and "Luis González Palma", Ediciones La Fábrica, España.
Graciela de Oliveira was born in Misiones, Argentina, in 1967, and graduated Architecture in 1992 (UNC).
She currently lives and works in Unquillo – Córdoba, Argentina. Since 1995 she mainly participated in interdisciplinary collective projects taking place in real time and researched interactive processes. She collaborated with Luis González Palma for the “Jerarquías de Intimidad” (2002-2008) project. In 2007 she created the artistic dispositif “Demolición/Construcción” which generated multiple series: “Asteriscos en nuestra memoria” (2008); “Proceso on/on” (2009); “Ejercicios Nidales” (2010); “Phronesis criolla (Excentros Clandestinos de detención en Córdoba)”, realized for Museos Sitios de Memoria de Córdoba (2009-2012). She recently presented her PhD thesis in socio-cultural anthropology with a thesis on the poetics of survival (UNC, 2010-2014); she coordinates casa/Estudio B’atz’, an interdisciplinary residency program dedicated to creative processes, and ON/ON, Architecture Studio.
Related Links : Talks | Arts
Entry : Free (Seating on First-Come First-Served Basis)
Venue : Instituto Cervantes, 48, Hanuman Road, Connaught Place (CP), New Delhi - 110001
Venue Info : Events | About | Map
Metro : Nearest Metro Station - 'Rajiv Chowk' (Yellow Line and Blue Line)
Area : Connaught Place (CP)
Event Description : Conference: “Intimacy Hierarquies” by Luis González Palma & Graciela de Oliveira
As part of Plastics Arts and Architecture Series.
In collaboration with: Travel Photo Jaipur
Synopsis: The Guatemalan photographer Luis Gonzalez Palma, and the Argentinian artist Graciela de Oliveira will talk about their artistic careers, showing many personal projects, as well as those who have carried out jointly such as "Intimacy Hierarchies".
Art statement by Luis González Palma : “From the beginning, my work has been a reflection on the look. How do we construct our internal experience of a couple of eyes fixedly staring at us? How are the shadows, brilliance and all implicit geography within each photograph interpreted and elaborated inside of us? If the way we look is concocted from the social and cultural, we may conclude that all looks are political and all artistic production is subject to this kind of judgment. The glance as power. From this point of view, I feel that the work of art is a
possibility of evidencing this, of questioning the way in which we look, of interrogating the history that has produced these "glance grades" and, therefore, the ways in which we react to the world. In my artistic process I have tried to create images that invite the observer to examine by means of what I call "emotional contemplation"; assigning, through the beauty in them, the meaning of their shape. I have constructed scenarios and I have modified certain countenances through the years in order to create images that would permit other perceptions of the world, other ways of understanding and modifying it internally.
In the first period of my work, I focused on creating certain metaphors by means of frontal portraits of fixed, direct stares, that exposed the dignity of the models and, simultaneously, made evident the fragility of their being: the countenance was a pretext to represent human condition. Portraits in which the loneliness and yet emotional firmness of the subjects could be sensed and in which the glance established a space of contradictions and ambiguities. In this series of portraits, mainly of Guatemalans, the countenance served as a mirror in which I looked at myself, wondered and searched for meaning. In those portraits, the strength
of the glance lies on the power it has to reverse my own and this power reaches its most intense value if it manages to reverse the spectator’s as well, with the same strength and impetus as it presents to him. To the observer, to discover himself in this internal, silent glance, accompanied by this immobile countenance that stares back at him, means to become aware that we all share a common destiny. A reflection on beauty as fragility, memory as pain and time as a continuous fall. Photography presents death with open
eyes.
At present, after capital life changes, both emotional and geographical, I have been working on a different representation, In collaboration with my partner and wife, Graciela De Oliveira, always using my personal obsessions as a starting point: beauty as a political power; religious experience loaded with love and pain, as a reading of the articulation between man and world; in a fallen society of vacuous interpersonal relations, in which healthy bonds are scarce given the complexity of emotions. This whole new series, entitled “Jerarquías de Intimidad” (Intimacy Hierarchies, 2004- 2005) was produced in Argentina. In it, I have tried to represent some scenes charged with significant psychological experiences, "empowering" them (through the title of the photo) with dialogues that are part of a silent script in apparently disconnected films. An essay consisting of mystery- filled images, also full of tension, and that present a halted, disturbing drama in which each photo acts as an instant of a dream that is prolonged and in which timeless figures are like wounds of the memory.
In each of the images the visible body and the object are vehicles to enter a secret but bright world, openly presented although encapsulated, that refuses touch but offers itself to the glance, in the same way as religious iconography. The set up presents the time of the unconscious with its free association, its longings and fears; human acts have been intertwined inside an unreal world which is out of phase; death is staged again inside the sacred radiance of the golden glaze.
I have conceived these projects, the most recent ones, with the desire that image could contain, and somehow highlight and express, the invisible. Word and fundamental experience that sustains this whole visual adventure. Like that which is unseen when seen; unspoken when spoken, like all those silences that a symphony contains; this work is an intimate and very personal attempt at shaping the ghosts that rule personal relationships, religious hierarchies; well, shaping all those that rule politics and life”.
About the artists:
Luis González Palma was born in Guatemala in 1957, and he currently lives and works
in Cordoba, Argentina. Among his personal exhibits we can mention: those displaying his personal works are: The Art Institute of Chicago (USA); The Lannan Foundation, Santa Fe (USA); The Australian Centre for Photography, Australia; Palacio de Bellas Artes, México; The Royal Festival Hall, London; Palazzo Ducale di Genova, Italia; MACRO and the Castagnino Museum, Rosario, Argentina; photographic festivals such as Photofest in Houston, and in Bratislava, Slovakia; Les Rencontres de Arles, France; PhotoEspaña,
Madrid; Singapur, Bogotá, San Pablo and Caracas, among others. He has participated in collective exhibitions such as the 49 and 51 Biennial in Venecia; Fotobeinal de Vigo, XXIII Biennial in Sao Paulo, Brasil, V Biennial in Habana; in the Ludwig Forum for International Kunst, Aachen, Germany; The Taipei Art Museum, Korea; Museo de Bellas Artes, Buenos Aires, Argentina; Daros Foundation, Zurich, Switzerland; Palacio del Conde Duque, Madrid, Spain; and the Fargfabriken, Stockholm, Sweden. His work is included in various public and private collections, such as The Art Institute of Chicago, USA; The Daros Foundation,
Zurich, Sweden; La Maison European de la Photographie, Paris, France; The Houston Museum of Fine Arts, USA; Fondation pour l’Art Contermporain, Paris, France; Fondazione Volume!, Rome, Italy; Biblioteca Luis Ángel Arango, Bogotá, Colombia; The Fogg Museum in Harvard University, Boston, USA; The Minneapolis Institute of Art, USA; Kiyosato Museum of Photographic Arts, Japan. He received the Gran Premio PhotoEspaña “Baume et Mercer” in 1999 and collaborated in the staging of the opera production “The Death and the Maiden” in the Malmö Opera in Sweden in the year 2008. He has three published
monographs of his work including “Poems of Sorrow” (Arena Editions, New Mexico, USA), and “The Silence of the Gaze” (Peliti Associati, Roma, Italy) and "Luis González Palma", Ediciones La Fábrica, España.
Graciela de Oliveira was born in Misiones, Argentina, in 1967, and graduated Architecture in 1992 (UNC).
She currently lives and works in Unquillo – Córdoba, Argentina. Since 1995 she mainly participated in interdisciplinary collective projects taking place in real time and researched interactive processes. She collaborated with Luis González Palma for the “Jerarquías de Intimidad” (2002-2008) project. In 2007 she created the artistic dispositif “Demolición/Construcción” which generated multiple series: “Asteriscos en nuestra memoria” (2008); “Proceso on/on” (2009); “Ejercicios Nidales” (2010); “Phronesis criolla (Excentros Clandestinos de detención en Córdoba)”, realized for Museos Sitios de Memoria de Córdoba (2009-2012). She recently presented her PhD thesis in socio-cultural anthropology with a thesis on the poetics of survival (UNC, 2010-2014); she coordinates casa/Estudio B’atz’, an interdisciplinary residency program dedicated to creative processes, and ON/ON, Architecture Studio.
ART TALK “Intimacy Hierarquies” by Luis González Palma & Graciela de Oliveira at Instituto Cervantes, 48, Hanuman Road, Connaught Place (CP) > 7pm onwards on 8th February 2016
![ART TALK “Intimacy Hierarquies” by Luis González Palma & Graciela de Oliveira at Instituto Cervantes, 48, Hanuman Road, Connaught Place (CP) > 7pm onwards on 8th February 2016]()
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