-This press release contains content about a project exclusively done by CIFO EUROPA.-
CIFO Europa, Centro de Arte Contemporáneo Wifredo Lam and The Consejo Nacional de las Artes Plasticas present Memories of Obsolescence
The Exhibit will be at the Centro de Arte Contemporaneo Wifredo Lam from September 1, 2013 through December 1, 2013
Miami – July 2013 – The Cisneros Fontanals Art Foundation Europa (CIFO Europa), The Centro de Arte Contemporaneo Wifredo Lam and the Consejo Nacional de Artes Plasticas announced Memories of Obsolescence. Selection of videos in the Ella Fontanals-Cisneros Collection. The exhibit will run from September 1 thru December 1 at the Centro Lam in Havana.
Memories of Obsolescence brings together a selection of pieces from the Collection of Ella Fontanals-Cisneros that share video as their medium. This is a collection of works by artists of all nationalities and backgrounds selected for their potential in questioning the medium they use. With a variety of approaches that pass from documentation to the fiction and all intermediate hybrid narrative formulas, many of the works presented are explorations about the possibilities and implications of integrating time into their work. Therefore, they are related to something happening or something that happened; the cause and effect of actions of which they are produced, thus establishing a close link with the performance. The performance is another mean of contemporary visual arts that introduces the present into the materiality of object in the visual field.
The artists included also bring a diversity of historical references, such as the first experiments with video in the sixties and seventies. These experiments were linked to conceptualist practices, or feminist art in general concerning the process of identifying sexual or ethnic minorities. They also highlight the interest in hybrid complexities of contemporary cultures influenced by anthropological thought in addition to questioning the possibility of intervening in the process of building the history of our time also taking into account reflections on urban space policies. The exhibit is very representative of the different approaches, not only to video, but overall artistic production today.
This exhibit, curated by Jesus Fuenmayor, is the second initiative of the newly founded CIFO Europa. As a branch to CIFO Miami, it was created to continue the foundation’s mission of fostering cultural exchange among the visual arts and to promote contemporary art from Latin America. Fuenmayor is the current Director and Curator at CIFO.
The list of artists included in this exhibition are Marina Abramovic, Francis Alys, Alexander Apostol, Donna Conlon, Song Dong, Jimmie Durham, Cao Fei, Magdalena Fernandez, Regina Jose Galindo, Leandro Katz, Suwon Lee, Ana Mendieta, Yosuha Okon, Miguel Angel Rios, Nicolas Robbio, Julian Rosefeldt, Melanie Smith, Francesca Woodman. They all hold key significance for the Collection’s patron and CIFO’s Founder and President, Ella Fontanals-Cisneros.
In the ten years since its founding, CIFO has impacted the Latin American art community by being one of its strongest supporters. Its most successful program, CIFO’s annual Grants and Commissions Program, offers emerging and mid-career contemporary artists from Latin America opportunities to develop and present new work and provides them a unique platform to present projects to local and international audiences. CIFO Europa and the exhibit in Havana are additional vehicles to further this mission.
About CIFO Europa
As an additional branch to CIFO Miami, CIFO Europa is a non-profit organization established by Ella Fontanals-Cisneros and her family to support artists who are exploring new directions in contemporary art. CIFO fosters cultural understanding and educational exchange through three primary initiatives: a Grants and Commissions Program for emerging and mid-career visual artists from Latin America; an exhibitions program showcasing international contemporary art from the Ella Fontanals-Cisneros Collection at the CIFO Art Space; and foundation-initiated support for other arts and culture projects.
About Memories of Obsolescence
Curated by Jesus Fuenmayor, Memories of Obsolescence highlights a common interest to inquire into the specifics of the medium and put them in evidence. To this effect, we have taken a text from art historian Rosalind Krauss, as the main reference. In this text, she argues that the video is - in principle - exempt from an internal logic that can accurately distinguish other means. Krauss also states that the late surge of video, it is in a permanent game and contradictory identity relations with other equivalent categories, be it painting, sculpture, drawing, photography or any other attempt to characterize artistic practice as the means through which the artists illustrates his ideas. This obsession of video with its own presence is known by Krauss as the “aesthetic of narcissism.” In this game of affirmation and negation, against traditional media, video constantly looks at itself without the possibility of to create a reflective distance between object and subject and to separate the work (the object) from who makes it and from who observes it. It is, to put it another way, half of perpetual present where everything becomes obsolete past. The name of Memories of Obsolescence which means video memories seeing themselves building and destroying the boundaries that define them.
Eleane M. Gonzalez
Marketing and Communications Manager