TIMEFALLS . Reinvention of Traditions
鈥楨verything passes in time but time itself!鈥� proclaims on a quite somber tone Eduardo Cadava in his book 鈥楲apsus Imaginis: The Image in Ruins鈥�. For him, the present is not simply the present, but a result of the multitude of images that form it 鈥渘ow鈥� and that might come from alien spaces and historical moments. Any image is for him always the image of another time. The image is bearing several memories at once. For him the image is therefor never closed.
This exhibition is dedicated to the recurrent necessity of contemporary artists to re-load the past, future and present into 鈥榯he image鈥� and therefore to re-cast 鈥榯raditions鈥�. We can think in this context also about the concept of the 鈥淩einvention of Tradition鈥� 鈥� a pluri-valent notion which has been invested with various content in cultural analysis.
Many of the work included in this show, deal with various forms in which traditions have been actually recreated. They also imply the political background of such appropriations. These invented traditions are often involved for legitimising certain institutions or cultural practices. In many of the works exhibited in this show we find allusions to the art of the Modernism and that of the Renaissance, but these are never innocent forms, as they carry with them cultural wars, the heritage of colonialism, or present economic relations of power 鈥� especially in regard to Latin American and European connections.
The exhibition travels between forms which show how the history of art has been reinvented, to others that show how historical themes transport socio-economic and political aspects. These run like deeper currents through the works presented here and reveal often conflictual, un-resolved historic themes.
We can find allusions to cultural forms since the end of the 19th century, the Latin American modernism and its reception in Europe, but also to today鈥檚 large scale biennials鈥� scaffolding of information, to architectural complexes and fairs.
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鈥楨verything passes in time but time itself!鈥� proclaims on a quite somber tone Eduardo Cadava in his book 鈥楲apsus Imaginis: The Image in Ruins鈥�. For him, the present is not simply the present, but a result of the multitude of images that form it 鈥渘ow鈥� and that might come from alien spaces and historical moments. Any image is for him always the image of another time. The image is bearing several memories at once. For him the image is therefor never closed.
This exhibition is dedicated to the recurrent necessity of contemporary artists to re-load the past, future and present into 鈥榯he image鈥� and therefore to re-cast 鈥榯raditions鈥�. We can think in this context also about the concept of the 鈥淩einvention of Tradition鈥� 鈥� a pluri-valent notion which has been invested with various content in cultural analysis.
Many of the work included in this show, deal with various forms in which traditions have been actually recreated. They also imply the political background of such appropriations. These invented traditions are often involved for legitimising certain institutions or cultural practices. In many of the works exhibited in this show we find allusions to the art of the Modernism and that of the Renaissance, but these are never innocent forms, as they carry with them cultural wars, the heritage of colonialism, or present economic relations of power 鈥� especially in regard to Latin American and European connections.
The exhibition travels between forms which show how the history of art has been reinvented, to others that show how historical themes transport socio-economic and political aspects. These run like deeper currents through the works presented here and reveal often conflictual, un-resolved historic themes.
We can find allusions to cultural forms since the end of the 19th century, the Latin American modernism and its reception in Europe, but also to today鈥檚 large scale biennials鈥� scaffolding of information, to architectural complexes and fairs.
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