Castillo deplijan za web

O autoru

About the Author:

Eric del Castillo rođen je 1962. u Mexico Cityju. Nakon studija filma i slikarstva, svoju umjetničku karijeru započeo je 1986. služeći se tehnikom kolaža, aproprijacije i remixa. Iako se u osamdesetima prvenstveno bavio performansom, intervencijama na objektima te instalacijama, kroz cijeli njegov rad proteže se kolaž, i to ne samo kao najvažnija umjetnička tehnika već nadasve kao način promišljanja i djelovanja. Godine 1995. sudjelovao je u programu Razmjene umjetničkih razidencija SAD (NEA) i Meksika (FONCA), a 1996. boravio je na rezidenciji u Headlands Center for the Arts, SAD. Od 1987. izlagao je na 15 samostalnih izložbi od kojih izdvajamo: Riot!, Salon Galić, HULU Split, 2016. Scherzo Vol. 2, Institut za suvremenu umjetnost, Zagreb, 2014. Scherzo, Galerija Meštrović, Split, 2013. Abductions, Instituto Cultural Mexicano, San Antonio, SAD, 1998. Sudjelovao je i na velikom broju grupnih izložbi, između ostalog: Anthologie der Kunst, Bundeskunsthalle, Bonn, Akademie der Kunste, Berlin, 2005. i Zentrum fur Medienkunst, Karlsruhe 2004. Open House, Headlands Center for the Arts, San Francisco, SAD, 1996. Telling Stories/ Telling Tales, The Banff Centre for the Arts. Alberta, Kanada 1995. Small Worlds, Galería del Progreso, Madrid, Španjolska 1993. Collage of the 20th Century, Museo Centro Cultural Arte Contemporáneo A.C., Mexico City, 1993. Živi i radi u Splitu.

Eric del Castillo was born in Mexico City in 1962. After studying film and painting, in 1986 he began his artistic career using the techniques of collage, appropriation and remix. Although his work in the 80s was dedicated to performance, objects, interventions and installations, collage extends throughout his artistic work not only as the most important artistic technique, but as a way of thinking and acting in general. In 1995, he received fellowship from the National Fund for Arts and Culture (FONCA), Mexico, and the National Endowment for the Arts (NEA), USA. In 1996, he was resident artist at the Headlands Center for the Arts in San Francisco. Since 1987, he had 15 solo shows, among others: Riot! Salon Galić, HULU Split, Croatia 2016, Scherzo Vol. 2. Institute for Contemporary Art. Zagreb, Croatia 2014, Scherzo. Galerija Meštrović.

Split, Croatia 2013, Abductions, Instituto Cultural Mexicano, San Antonio, USA 1998. He participated in more than 100 group exhibitions.

The most important are: Anthologie der Kunst. Bundeskunsthalle, Bonn, Akademie der Kunste, Berlin, 2005 and Zentrum fur Medienkunst.

Karlsruhe, Germany 2004, Open House. Headlands Center for the Arts, San Francisco, USA 1996, Telling Stories/Telling Tales, The Banff Centre for the Arts. Alberta, Canada 1995, Small Worlds. Galería del Progreso.

Madrid, Spain 1993, Collage of the 20th Century. Museo Centro Cultural Arte Contemporáneo A.C. Mexico City 1993. He lives and works in Split.

www.ericdelcastillo.eu www.facebook.com/ericdelcastilloarchive

www.ericdelcastillo.eu www.facebook.com/ericdelcastilloarchive

Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija PM | Gallery PM Trg žrtava fašizma 16, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: srijeda – petak 11 do 19h, subota – nedjelja 10 do 18h Working hours: Wednesday to Friday 11am – 7pm, Saturday to Sunday 10 – 6pm, Mondays, Tuesday and holidays – closed IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika/For the publisher: Josip Zanki | Upravni odbor HDLU/Executive board of HDLU: Josip Zanki (predsjednik/ president), Tomislav Buntak (zamjenik predsjednika/vicepresident), Fedor Vučemilović (zamjenik predsjednika/vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić | Umjetnički savjet Galerije PM/Artistic board of PM Gallery: Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Branka Benčić, Ivan Fijolić, Josip Zanki, Ivica Župan | Ravnateljica/Director: Ivana Andabaka | Stručna suradnica/Associate: Martina Miholić | Predgovor/Preface: Ivana Meštrov | Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Prijevod/ Translation: Zana Šaškin | Tisak/ Printed by Cerovski | Naklada/Copies: 150 Izložba je realizirana uz financijsku potporu Ministarstva kulture Republike Hrvatske i Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba./ The exhibition was financially supported by the Ministry of Culture of the Republic of Croatia and the City Office for Culture, Education and Sports Zagreb.

ERIC DEL CASTILLO

Kustosica: Ivana Meštrov

Galerija PM | 13. – 23. 10. 2016. | Gallery PM | October 13 - 23, 2016

Eric del Castillo

Eric del Castillo

EKVATORIJALNI PEJZAŽI

EQUATORIAL LANDSCAPES

Ekvatorijalni pejzaž. Svojevrsna linija razgraničenja između mene i svijeta. Dogovorni polutnik-pogled prema i na. Geopolitika podjele, svjedočenje o geografijama nejednakosti. Čisti ratio.

Kolaž. Spajanje spojivih i nespojivih fragmenata i elemenata. Digitalni kolaž. Lako dohvatljiv kompendij ideja i prikaza. Slobodna cirkulacija, prisvajanje, montaža i novi život. Preživljavanje u slici i izvan nje.

Linija. Osnovni element forme. Zamišljena granica između dva volumena, dvije plohe. Zakrivljena, ravna, isprekidana, ovisno o kutu gledanja. Određuje dinamiku prikaza, u ovom slučaju postojana i samostalna, nositelj motiva i sadržaja.

Krug. Kontekst prihvata. Galerija. Podržava učestalo ponavljanje, repriziranje i nebrojene, nove vizualne kombinatorike. Pristaje kolažu kao elementu, a dobro se stapa i s muralnom tehnikom prikaza.

Mural, u kontaktu s kružnom plohom. Zazivanje pogleda u svojoj sveobuhvatnosti; psihološkoj, društvenoj, senzornoj.

Karakterizira ga jasnoća komunikacije informacije, direktno prepoznatljiv prizor. Može se uobličiti u interijeru, ali pristaje i eksterijeru. Još od davnih dana njime muzej postaje naša ulica, a ulica naš muzej. Po uvjerenju marksist, po prirodi političan i angažiran, odr(a) žava zajednicu/e kroz društveno aktualne teme, svakodnevne iska-

ze i prizore van hijerarhije, dominacije. Nerijetko ga povezujemo uz meksičku školu muralizma, umjetničkog pokreta prisutnog u Meksiku između 1920-ih i 60-ih, koji je vidno utjecao na moderno zidno slikarstvo u svijetu.

Za Erica del Castilla svi su ovi pojmovni elementi granidbeni članci dugogodišnje vizualne prakse koja se prvenstveno vrti oko kolaža, društvenih mjena, ali i vječnog metodološkog principa ‘vlastite’ linearnosti; biografske, poetske, ali i društvene. Koristeći aktualnu medijsku ikonografiju i realistički prijenos kao reprezentacijsku bazu, ovaj suvremenoumjetnički seizmograf gradi prikaze, koji za gledatelja mogu predstavljati svojevrsni déjà-vu. Jer, sve smo mi to dijelom već negdje vidjeli, da li u dnevnom tisku, na internet portalima ili TV vijestima. Vidno potresen i ljut, del Castillo ide korak dalje pointirajući ikonografsko okruženje jedne vizualne inkubacije današnjice. I sve dok se (o)krećemo izložbenim postavom Ekvatorijalnih pejzaža nad nama se manifestno nadvijaju i dreče slikovni fantomi paralelnih realnosti društvenih nejednakosti i geopolitičke svireposti. Pejzaž, ogled vlastite distance i vječne opozicije, motiv za suosjećanje, a možda i neku buduću građansku hrabrost?

Ivana Meštrov

Equatorial landscape. A sort of demarcation line between me and the world. An agreed-upon equator – the view of and on. The geopolitics of division, the testimony of geographies of inequality. Pure ratio.

Collage. The combining of compatible and incompatible fragments and elements. Digital collage. Easily accessible compendium of ideas and images. Free circulation, appropriation, assemblage and a new life. Survival in the image and beyond.

Line. The basic element of the form. An imagined barrier between two volumes, two surfaces. Curved, straight, dotted, depending on the viewing angle. It defines the dynamics of representation, in this case stable and independent, holder of the motives and content.

Circle. The context of acceptance. Gallery. Supports frequent repetition, reprising and countless, new visual combinatorics. It suits the collage as an element, and merges well with mural-like manner of representation.

Mural, in contact with a circular surface. Attracting views in its comprehensiveness; psychological, social, sensory. It is characterized by the clarity of communicating information, an immediately recognizable scene. It can be formed in the interior, but it also fits the exterior. For a long time it has been turning the museum into our street, and the street into our museum. Marxist by belief, political and engaged by nature, it maintains (mirrors) the society/ies through hot social topics, daily statements and scenes beyond hierarchy, domination. It is often

associated with the Mexican school of Muralism, an art movement in Mexico between 1920s and 1960s, which visibly influenced modern mural painting.

For Eric del Castillo, all these conceptual elements are constructive paragraphs of his long-time practice, which primarily revolves around collages, social changes, but also the eternal methodological principle of “its own“ linearity; biographical, poetic, as well as social.

Using current media iconography and realistic transfer as a representational base, this contemporary and artistic seismograph builds representations, which can be a kind of déjà-vu for the viewers. Because we have already seen some of it somewhere, be it in the newspapers, on Internet portals or TV news. Visibly shaken and angry, del Castillo goes a step further, by pointing to the iconographic environment of a visual incubation of the present day. And for as long as we keep moving (turning) around the exhibition set up of Equatorial Landscapes, pictorial phantoms of parallel realities of social inequalities and geopolitical cruelty will hang over and scream above us in a manifest manner. Landscape, the model of one’s own distance and eternal opposition, a motive for compassion, and maybe even some future civil courage?

Ivana Meštrov