今週土曜より、ベルリンのディープなところにある南米系プロジェクトスペースでの展覧会に、南米から最も遠い国出身の僕も出品します。
There will come soft rains
Exhibiton 26.11. - 09.12.
Opening 26.11. ab 19:00
Gallery Mario Kreuzberg
Adalbertstr. 4. 10999 Berlin
1st floor
Elisa Balmaceda
Barbara Marcel
Tomoyuki Ueno
Daily we are overloaded with information that pokes you every now and then. We feed ourself from quotes that drives our opinions of conflicts exposed as faraway wars. We construct false awarenesses with nonstop screen post, creating opposites poles dissociated from real sources. “There will come soft rains” reflect on the notion of poles, extremes that seemed to have anything in common, two distant places apparently disconnected from each other.
Elisa Balmaceda's project was developed in the Atacama Desert, known as the driest place on Earth. Here, the best meteorological conditions for astronomical observation coexist with one of the biggest copper mining industry in the world; two opposed perspectives that her work symbolically merge together. Working in collaboration with a group of artists, Balmaceda intervened a crater originated by unknown circumstances. While locals believe it was formed by the impact of a meteorite, scientists claim it was caused as a consequence of soil erosion by the passage of groundwater.
Contrary to this arid land the work of Barbara Marcel “Victoria Amazonica” explores the colonial roots of Amazonian Water Lily plant present in archives of the Dahlem-Berlin Botanic Garden. The brazilian artist questioned her own knowledge about the Amazon forest which took her to travel for the first time to Manaus, a particular Tax free village in the brazilian amazons where she found out that 23 thousen tons of phosphorus travel through the Atlantic Ocean from the Sahara Desert to feed the Amazons.
In this case the opposites are not attracted, rather they would not exist without each other. The invisible borders that we create and the lost of information and knowledge make us ramble, specially this days where everything appears to be isolated facts and easily to scroll down. Finally, the installation of Tomoyuki Ueno works as a bridge between this two places, a game of perspectives that connects what seems to be far, creating through a door a dualism between existence and absence. In the language of the trompe-l’œil, a door becomes more like a porous membrane that connects what seems to be closed systems and let the dynamics find the way to the equilibrium.
Curated by GMK in collaboration with Merlina Rañi
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