LARMAGAZINE
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A Different Kind of Feminism No015 路 sept oct 2014
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A Different Kind of Feminism No015 · sept oct 2014
Alejandra Baltazares, The Maid (Am I Kawaii?), 2014
DIRECTOR / ADVERTISING Catalina Restrepo Leongómez catalina@lar-magazine.com EDITOR / TRANSLATOR Daniel Vega serapiu@hotmail.com ART DIRECTOR / DIGITAL PRODUCTION Judith Memun judith@lar-magazine.com EDITORIAL ASSISTANT Daniela González dany.gova@gmail.com WRITER AT LARGE Emireth Herrera emi.heva@ gmail.com. Contributors María Fernanda Barrero, José Leal, Felix D’Eon, Ichiro Fukano, Catalina Moncayo, Daniel Vega, Homero V. Campos Reyna. Aknowledgments Gonzalo Ortega, Roberto Pulido, David Gremard Romero. Photography Courtesy of the artists, Instituto de Visión, Museo Tamayo Arte Contemporáneo, Museo de Arte del Banco de la República Colombia, Catalina Moncayo. Video Alejandra Baltazares. FOUNDERS Catalina Restrepo Leongómez & Judith Memun.
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A Different Kind of Feminism Being absolutely sensitive about the victims of violence, and especially those of genre, I want to start this editorial by saying that I am grateful for all those feminists who in different moments of history have been brave and have fought for equalitarian rights and conditions. Thanks to them I consider myself a free woman that can choose about her body: I´ve never felt discrimination, have never felt I was being paid less or being taken less seriously for being a woman, much less been a victim of violence. Nevertheless, this issue of LARMAGAZINE is not outlined as a revision of traditional feminism (of which I am personally very critical), manifested today in the same way as it was more than a half century ago. I believe that it is personally important to question everything, including that which under every light seems like a just cause, just as feminism. Due to recent conversations with people closely linked to this movement I’ve perceived a certain fundamentalism, and at the same time, an effort to lighten statistics that show that woman is “screwed” towards man. Woman appears only as a victim of man, but it turns out that there are also men victims of men, women victims of women, children victim of women and men, and this may seem like an ingenuous point of view if you want, but personally I do not find any logic in this statisticalcomparative idea of the victims. I believe that at this point we must appreciate the terrain gained, celebrate the women who have successfully unmarked from the patriarchal system, and crit-ically review the role women play in matters of machismo, be-cause I have met with many women that are more chauvinist than men: women who use the word slut to refer to other womDOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE
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en who choose to have a more active or experimental sexuality, others that go to college in order to get a rich husband who provides to them, others who defend the husbands who beat them because they don’t see a gesture of violence in aggression and jealousy, but one of true love, among others. Amelia Valcárcel, one of the most important references in feminism in Spain, started her discourse in the Feminist Debate Conference carried out in Uruguay, in June 2014, speaking about the case of some young women from India who where raped and murdered, and she said that “as long as there is one woman in the world who is terrified of being, those of us that are better are not so much so”: and I agree with her. In Colombia the cases of vi-olence against women impact society every day; cases as that of Natalia Ponce de León —assaulted with acid on her face— or that of Rosa Elvira Cely —brutally tortured and murdered— have impacted the country’s indolence in such a way that have awakened protests and marches of all kinds. This motivated us in LARMAGAZINE to tackle the subject and analyze it from a different perspective, like the one I suggested in the beginning; a feminism that does not aim to take power from men, but one which incites woman to empower and be self-critical, a historical revision that gives her force back and an analysis of inequity of genres not from genre per se, but from social structure. I urge you to read the article shared with us by artist María Fernanda Barrero, where she talks about how the world, at some point —contrary to what our history lessons insisted on— witnessed societies that experienced an absolute gender equality, an equality among people, a society without apparent wars. They were civilizations that followed schemes where hierarchy was not vertical, there were no bosses or emperors, but they func-tioned from a feminine logic, from cooperative networks and hor-izontal and rizomatic hierarchies. Additionally, José Leal, renown-ed Mexican sociologist, shares with us “Women, Witches and Lovers”, a text about the role of women in the land of gods and how she was gradually supplanted throughout history. This issue also features an interview with renowned Colombian gallerist Beatriz López, who tells us about her adventure in the so competed medium of art. Also Emireth Herrera share with us VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM
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an amazing interview with Alejandra Baltazares, a Mexican artists whose projects have a very interesting view on the role of women and men in relation to beauty and self-inflicted violence. You can also find portfolios of Alejandra Alarcรณn, Floria Gonzรกlez, Alejandra Baltazares, Claudia Lรณpez Terroso, Juan Carlos Delgado and Juan Antonio Sรกnchez-Rull, and as usual, our music spe-cial from our beloved editor, who tells us about women that have reached the dominance of the music scene in terms of Rock and Punk. As usual, we hope you love this issue as much as we loved making it.
Catalina Restrepo Leongรณmez Director and Co-Founder LARMAGAZINE www.lar-magazine.com
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Otro tipo de feminismo
Creo en lo personal que es importante cuestionarse todo, incluso lo que a todas luces parece una causa justa, como lo es el feminismo. Por conversaciones recientes con personas muy ligadas a este movimiento he percibido un cierto fundamentalismo y, al mismo tiempo, un afán por sacar a la luz estadísticas que demuestran que la mujer, frente al hombre, está “jodida”. La mujer aparece sólo como una víctima de los hombres, pero es que en el mundo hay también hombres víctimas de los hombres, mujeres víctimas de mujeres, niños víctimas de mujeres y de hombres, y puede que este sea un punto de vista ingenuo si se quiere, pero en lo personal no encuentro una lógica en ese pensamiento estadístico-comparativo de víctimas. Creo que a estas alturas hay que reconocer el terreno ganado, celebrar a las mujeres que han logrado desmarcarse del sistema patriarcal y revisar críticamente DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE
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Sensibilizándome enteramente con las víctimas de la violencia, especialmente la de género, quiero empezar este editorial diciendo que estoy agradecida por todas aquellas feministas que en diferentes momentos de la historia han sido valientes y han luchado por la igualdad de derechos y condiciones. Gracias a ellas yo me considero una mujer libre que puede decidir sobre su cuerpo: jamás he sentido discriminación, nunca he percibido que me paguen menos o me tomen menos en cuenta por ser mujer, y mucho menos he sido víctima de la violencia. Sin embargo, este número de LARMAGAZINE no se plantea como una revisión al feminismo tradicional (del cual soy muy crítica en lo personal), manifestado hoy en día de la misma manera que hace más de medio siglo.
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el papel que juega la mujer en cuestiones de machismo, porque me he topado con muchas más mujeres machistas que hombres: mujeres que llaman putas a otras que deciden tener una sexualidad más activa o experimental, otras que van a la universidad a conseguir marido rico que las mantenga, otras que defienden a su esposo golpeador porque ven en la agresión y los celos un gesto no de violencia, sino de amor verdadero, entre otras. Amelia Valcárcel, una de las referencias más importantes sobre feminismo en España, empezaba su discurso en la Jornada de Debate Feminista llevada a cabo en Uruguay, en junio del 2014, hablando del caso de unas jóvenes en la India que habían sido violadas y asesinadas, y decía que “mientras haya una sola mujer en el mundo aterrorizada de serlo, las que estamos mejor no estamos tan mejor”: y concuerdo con ella. En Colombia los casos de violencia contra mujeres impactan todos los días a la sociedad; casos como el de Natalia Ponce de León —agredida con ácido en la cara— o el caso de Rosa Elvira Cely —brutalmente torturada y asesinada— han sacudido de tal manera la indolencia de ese país que han despertado marchas y manifestaciones de todos los tipos. Esto nos motivó en LARMAGAZINE a abordar el tema y analizarlo desde una perspectiva diferente, como la que planteaba al principio: un feminismo que no apunta a quitarle el poder al hombre, sino que incita a la mujer a empoderarse y ser autocrítica, una revisión histórica que le devuelve la fuerza y un análisis sobre la desigualdad de géneros no desde el género per se, sino desde la estructura social. Los invito a leer el artículo que nos comparte la artista María Fernanda Barrero, en el que habla sobre cómo el mundo en algún momento —contrario a lo que en las clases de historia nos han insistido— presenció sociedades en las que se vivía una absoluta equidad entre géneros, entre personas, una sociedad sin guerras aparentes. Eran civilizaciones que seguían esquemas donde la jerarquía no era vertical, no había jefes o emperadores, sino que funcionaban desde una lógica femenina, a partir de redes de coo-peración y jerarquías horizontales y rizomáticas. Por su parte José Leal, destacado sociologo mexicano, nos comparte “Mujeres, brujas y amantes”, un artículo que nos habla sobre el papel de la mujer en la tierra de los dioses y cómo a través de la historia la fueron desbancando. VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM
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En esta edición también presentamos una entrevista a la reconocida y destacada galerista colombiana Beatriz López, que nos cuenta cómo ha sido su aventura en un medio tan competitivo como lo puede ser el del arte. También Emireth Herrera nos comparte una entrevista magnífica a la artista mexicana Alejandra Baltazares, cuyos proyectos tienen una visión muy interesante sobre el papel de las mujeres y los hombres en relación a la belleza y la violencia auto-infligida Encontrarán los portafolios de Alejandra Alarcón, Floria González, Alejandra Baltazares, Claudia López Terroso, Juan Carlos Delgado y Juan Antonio Sánchez-Rull, y nuestro especial de música que no puede faltar de nuestro queridísimo editor, quien nos habla de mujeres que han logrado dominar en la escena del Rock y el Punk. Esperamos, como siempre, que les guste este número tanto como nosotros disfrutamos hacerlo.
Catalina Restrepo Leongómez Directora y Co-Fundadora LARMAGAZINE www.lar-magazine.com
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"I WANTED TO CREATE SOMETHING THAT PEOPLE COULD RELATE TO WITHOUT HAVING READ A BOOK ABOUT IT BEFOREHAND" -
CINDY SHERMAN
CONTENTS TAP ARROWS TO GO
Editorial
Interview
A Different Kind of Feminism
Beatriz López by Catalina Restrepo Leongómez
Article Who Said the World Never Knew Peace? by María Fernanda Barrero
Recommended Obsesión Infinita, Yayoi Kusama Museo Tamayo Arte Contemporáneo
Article
México City, México
Mothers, Lovers and Witches by José Leal
Durero. Grabados 1496-1522 Museo de Arte del Banco
Artist Portfolios
de la República Bogotá, Colombia
Alejandra Alarcón Claudia López Terroso Floria González Juan Carlos Delgado
Special Guest Catalina Moncayo Mother India
Juan Antonio Sánchez-Rull
Music
Alejandra Baltazares
“…no more pussies, no more fake
Interview
by Daniel Vega
girls, I want a whore from hell”
Alejandra Baltazares by Emireth Herrera VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM
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<who said the world never knew peace?>
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by marﾃｭa fernanda barrero
Recorded by ReamProductions
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There are ideas that were taught to us as unmovable and natural constructs to the human being. War is one of them. To me, this resigned posture that observes systematic violence as an inevitable evil that accompanies humanity seems completely absurd, illogical and unnecessary, and more so today that it reappears and relives forcefully on a planet where the most urgent issue is to solve our social-environmental crisis.
</...war is NOT natural to humanity,
For years Iâ&#x20AC;&#x2122;ve been reluctant to accept is not an the idea, even if in the end I see myself as a profoundly idealist and pretty misfit person. Today I found information that helped me in my personal life to draw a life-formula that at least drives towards a pacific model of day to day coexistence.
inevitable evil>
We can place this other card on the table, some ideas and proposals of a group of authors that surprised me and make me admire them. They show us a perspective of life and human history that is very different from the one that is traditionally taught, and that also presents convincing and clear solutions. This is a brief sketch. Thenâ&#x20AC;Ś war is NOT natural to humanity, is not an inevitable evil. Violence, its threat and systematic use as a formula for domination, classification, power and control, is a tool that our human culture has chosen to use for millennia. Also, neither natural nor justifiable are genre inequality, social stratification, the exclusion of the other, different one, poverty, nor any of those evils we have been told not to accept. All of these social conditions probably happen for circumstantial reasons of our interaction with the environment, I donâ&#x20AC;&#x2122;t know. But there is evidence that there may also be other formulas of life, organization, interaction and social interchange that are not utopias and that have even been tools of survival and evolution in our cellular and human past. In biology, the relationship of exchange between two individuals of different species fluctuates in the continuum of symbiosis, where on a side we find the parasite that lives at the expense of its host, and on the other the symbiosis or mutualism. Here, VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM
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both parts achieve an exchange of mutual benefit. Biologist Lynn Mar-gulis proposes in her theory of endosymbiosis1, that the eukaryotic cell (our cellular ancestor) had its origin on a profound symbiosis between two prokaryotic bacteria where one of them absorb</...here, both parts achieve an ed the other and they exchanged exchange of mutual benefit> ge-netic material, giving way to a new organism. Margulis proposes these endosymbiotic exchange based on cooperation as one of the major causes of biological novelty: an evolutionary leap. The work of Margulis presented me the opportunity of seeing parasitism with different eyes. Not as something hopelessly antagonistic and static, but as part of a major process that recognizes life as a flow of interaction, exchange and adaptation. It seemed inevitable for me to extrapolate it to current human behavior and our socio-environmental crisis. If bacteria may gradually change its parasitic behavior towards a less noxious one, why can’t we do it too? And to my surprise, there is also archaeological evidence of a human origin with more cooperative and peaceful life formulas. On the Neolithic sites of Catal Hüyük and Hacilar, in the plains of Anatolia (6500-5000 BC), and in what is known as Ancient Europe (from the Aegean to the Adriatic, all the way to South Poland and Eastern Ukraine, 7000-3500BC) there is evidence of agricultural societies, artistically and socially sophisticated, non stratified and peaceful. Archaeologically there seem to be no difference in sizes of houses and tombs, there are similar nutrition and health </...if bacteria may gradually states between men and women, change its parasitic behavior towards and there is no praising of weapons a less noxious one, why can’t and war through ornamental or arwe do it too?> tistic motifs.
CONTINUE READING “WHO SAID THE WORLD NEVER KNEW PEACE?” MARÍA FERNANDA BARRERO Marija Gimbutas, BY archaeologist from the University of California, specialist and author of the book Civilization of Ancient Europe, describes Ancient Europe a more developed and sophisticatINasLARMAGAZINE iPAD APP ed society than that of the barbarian warriors narrated in school. They cultivated grains, bred domestic animals (except horses), they had detailed pottery and stone carving, they introduced
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"IT NEVER CEASES TO AMAZE ME WHEN ORDINARY PEOPLE GET INTO THE SPIRIT OF WHAT I’M DOING. IT’S PIVOTAL TO MY ART" SPENCER TUNICK
mothers, lovers and witches
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illustrations by Felix D’Eon
by José leal
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Just like the other species of creation, gods have evolved through time. They have existed in many forms, colors, flavors and genres, and they weren’t always the psychopath, delirious, war and tribute-hungry patriarchs of today. Yahweh and all of his impostures, his first-born son Jesus Christ, Mohammed and other relatives (real or imaginary) are descendants of the first gods and goddesses of civilization and they are, in turn, of those primitive spirits from animism: earth, water, its animals and plants, the stars and many other factors decisive to human subsistence and health. To image and likeness, women and men have envisioned, since prehistory, spirits and deities in a beyond that is immaterial but not imaginary. Visions that are objectively experimented after the consumption of drugs, during fever, common sleep or schizophrenia, to mention a few, have been the faithful reflection of the more intimate longings and fears of our ancestors, but also of the complex human, social and environmental dynamics of the civilizing process in the different phases of its technical development. Antrophologist Antonio Escohotado points out that, in its most archaic origin, it is impossible to differentiate empirical therapeutic, magical practices and religion, since they are all part of the same primary and fundamental function: hygiene. There is, since prehistory, a broad group of practices destined to the preservation of health that encompass food, physical exercise (and eventually meditation), music, psalm singing and the consumption of drugs.
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Developed by Homero V. Campos Reyna
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“Then the serpent said to the woman: You shall not die; but God knows that in the day you eat the fruit, your eyes will be open, and you will be as Him, knowing good and evil” Génesis
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With irrigated agriculture and the first settlements, the hunter’s zoolatry gives way to rites of fecundity; matrilocation prevails and sexuality is sheathed with a religious character. Woman is now at the center of the social and economic life; her patience as a gatherer has earned her the knowledge that drives to abundant harvests. It is to the shamaness —not the shaman— that the secret of the gods has been revealed: the science of the agricultural cycle—and with it, all of its consequences. Inanna, Astarte, Aphrodite, Venus: patroness of fertility, sensuality and civilization. Perhaps there is in their invocation the echo of real names of ancestral women of flesh and bones, tenacious matriarchs with the knowledge and power to change history, true forgers of the first agricultural societies. Mothers of civilization.
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From the invocation of different altered states of the conscience— intoxications, basically— emerged more sophisticated practices such as fortune-telling and the creation of elaborated foundational myths that, after millennia of oral tradition, would be trapped on the first written narrations of history, the clay tablets of the old Sumer: the Epic of Gilgamesh. In them, creation, paradise lost, the deluge and other stories that the Bible would plagiarize centuries later.
Among the small villages that flourished dispersed under the Tigris and Euphrates emerges a great new centre surrounded by walls that resemble the outskirts, propelled by a new and much more efficient agricultural technique: irrigation. With its networks of hydraulic channels, roads and barns, the irrigation systems implemented by the Sumerians defragment and multiply agricultural productivity. Almost at the same time appear writing, the wheel, laws and other sophistications that would be impossible to support without the organization of large machines of shelter and subjugation. With the formation of the first armies DRAG AND DROP THE DRESSES
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...to be replaced by a much more docile and family-oriented woman, someone more tamed than her predecessor.
These new “Sun” gods, glorified by military conquest and economic expansion, embody semi-divine figures such as Gilgamesh and the Pharaohs. In the Sumerian myth, the central site of the voluptuous Inanna is taken for the ingenious builder of walls and astute military boss. Eridu, Uruk, Ur and Nippur are in bloom; gigantic barns coated with religious meaning through initiation cults and complex propitiatory rites, are the trustworthy center that the first city-states gravitate towards. There has been an escalation towards a new technological, social and political plateau, with a complexity that is only possible due to the growing entropy brought upon by the river itself. The balance with nature has been broken; overutilization and the subsequent salinization of croplands usually lead to sever Malthusian crisis.
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a tributary-military state is established, prompting the flowering of the culture of war. Male domination in the pantheon of the gods is now under way.
The Hebrew myth has a certain resemblance between Lilith, the first woman of Adam, and Inanna, patroness of Uruk. But that seductive and independent figure abandons Eden —according to the legend— voluntarily, to be replaced by a much more docile and family-oriented woman, someone more tamed than her predecessor. Eve seems, in that sense, a revised version —less wild— of Inanna and other goddesses of the pagan pantheon. Towards her, whose guilt is wisdom, a moral blockade designed to control her reproductive system is installed. The moral superiority of the patriarch is established on her subjection as an antidote to feminine rebelliousness, which caused the original sin and the subsequent ejection from paradise.
CONTINUE READING “MOTHERS, LOVERS AND WITCHES” BY JOSÉ LEAL IN LARMAGAZINE iPAD APP DOWNLOAD IT IN THE APP STORE
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Domadora de animales muertos, 2013
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Alejandra Alarc贸n
Como es abajo, es arriba, 2014
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Alejandra Alarc贸n
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Claudia López Terroso
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About the series Las Brujas, 2014
This images explore personal-magical universe in which I grew up and which is fed from an inexhaustible source of magical experiences that I have lived next to my mother. Thus I initiated a visual investigation into psychomagical acts that some women in the region used to do for their welfare. Some of those acts relate with rites in the river in an attempt to forget painful memories.
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Las brujas, 2014
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Las brujas, 2014
Claudia L贸pez Terroso
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Claudia López Terroso
About the project Bajo los párpados, 2012
In this series of photos I want to explore places between dreams and those ritual acts that heal the body and soul. I use symbolic elements that bring me to the dreamlike spaces. I like to explore how the real space can penetrate into a dreamlike atmosphere.
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Bajo los párpados, 2012
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Claudia L贸pez Terroso
Bajo los p谩rpados, 2012
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Floria Gonzรกlez
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La hoguera de las vanidades, 2013
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Floria Gonzรกlez
La hoguera de las vanidades, 2013
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La hoguera de las vanidades, 2013
Floria Gonzรกlez
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Floria Gonzรกlez
sMother (fragment), 2012
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Floria Gonzรกlez
sMother, 2012
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Floria Gonzรกlez
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Kanako II, 2012
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Juan Carlos Delgado
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Cuarto Norte, 2011 DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE
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Juan Carlos Delgado
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Juan Carlos Delgado
Untitled, 2012
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Juan Carlos Delgado
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Juan Antonio Sรกnchez-Rull
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Museos, 2014
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Juan Antonio Sรกnchez-Rull
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Juan Antonio Sรกnchez-Rull
Untitled, 2014
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Juan Antonio Sรกnchez-Rull
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Alejandra Baltazares
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The Maid (Am I Kawaii?) Performance. Akihabara, Tokyo
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by Ichiro Fukano
On this April, Alejandra Baltazares exhibited at my own venue JIKKA which is located in Akihabara, Tokyo. Akihabara is well known not only as electronics town but also as Maid Cafe town. At Maid Cafes, the girls wear costumes of maids and serve the guys. But the guys never touch the girls. They just talk and play games. Nothing any more. What’s fun? Because such guys are very shy and cannot communicate well with girls in their ordinary lives. They enjoy virtual love with roll playing game by paying money. SCROLL DOWN
On theLARMAGAZINE streets of Akihabara, maids provide theirTHE flyers to ISSUE DOWNLOAD IN THEmany iPAD APP STORE TO READ ENTIRE the guys as it is very competitive.
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Alejandra Baltazares
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Luyolo, 2012 3/10
Alejandra Baltazares
The Carpet in co-authorship with Philip Metz, 2012
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Alejandra Baltazares
Hairstyles for a Beauty Queen, 2010
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interview with Alejandra Baltazares LEER EN ESPAﾃ前L
by Emireth Herrera
Your projects are strongly related to women and the violent proceedings they voluntarily subject themselves to in the face of the standards of beauty they are trying to follow. Where did you find the interest to carry out this research?
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"IT DOESN’T HAVE TO BE PRETTY. IT HAS TO BE MEANINGFUL" -
DUANE HANSON
LEER EN ESPAÑOL
INTERVIEW WITH BEATRIZ LÓPEZ by Catalina Restrepo Leongómez
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IT CAN EASILY BE SAID THAT TODAY YOU ARE ONE OF THE MOST IMPORTANT GALLERY OWNERS OF COLOMBIA. IS IT SOMETHING YOU ALWAYS WANTED TO BE? I always wanted to work with art. I even wanted to be an artist once. But being a gallery owner has given me many opportunities to exchange knowledge and experiences on different areas. There is a very creative part of this job and another one, of course, that has to do with the business (which I’ve learned to enjoy). On the other side is work with artists, which is what I like the most. I can say I do what nourishes me. Being a gallery owner has allowed me to interact with wonderful people. I don’t know how they are in other parts of the world, but the way I work in Colombia I have to relate with all kinds of professions and knowledge. From very specialized curators, skeptical critics, to the people that make the production of the pieces or help me with maintenance of the gallery premises.
HOW DID THE LA CENTRAL PROJECT STARTED AND HOW DID IT TRANSITIONED TO THE INSTITUTO DE VISIÓN? La Central was born very spontaneously and was shaped with time. First it was a production office that provided curatorial and advisory services. Rapidly we turned into a commercial gallery due to the necessity of an emerging art-specialized center with a conceptual commitment. La Central has been one of the greatest experiences in my life and it definitely served as a learning laboratory for artists and for me as well.
Instituto de Visión stand. Felipe Arturo, Otto Berchem & Ana Roldán, 2014
The Instituto de Visión is a more mature project. In it take part artists from the original La Central group, and others that have added themselves to create a program that seeks to generate more revolution, discussion and exchange. Instituto de Visión is not a purely commercial project; we want to propose new readings and reclaim works that allow us to fix the tracing of the recent history of Colombian art, and to promote it. The name of the gallery honors one of my favorite pieces in Colombian contemporary art, and to me, concentrates many of the contradictions implied by this craft, where you have VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM
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to practice the commercial with a very special sensibility and with a particular commitment with each involved subject.
FROM WHAT I HAVE SEEN, INSTITUTO DE VISIÓN HAS A LINE OF BUSINESS THAT IS DIFFERENT FROM A CONVENTIONAL GALLERY. HOW DOES IT WORK AND WHAT IS ITS MAIN OBJECTIVE? The major difference with a commercial gallery is that we have a very defined research office. It is directed by Maria Wills, it’s called Visionarios, and from this platform we pretend to feed the history of conceptual art. For now we work with four Visionaries that have remained active out of the spotlight of the market and the general public. On the other hand we have a residency program for international artists on which we offer the opportunity of having an active exchange with the local scene. The result of these residencies is then exhibited in the gallery site or in public spaces. Precisely, the frontiers between the public, the private and the community are another of the topics the Instituto de Visión is interested in exploring. That is why we are also developing a program of public art where we designed some festivals and strategies we hope will be active soon, which will allow us to interact on different spaces than those typically associated to art.
Carolina Caycedo, 2014. 8th Berlin Biennale
FOR MANY OF THE ARTISTS YOU MANAGE AND THE TYPES OF WORK THEY MAKE, IT WOULD SEEM THAT THE MAIN TARGET ARE MUSEUMS AND LARGE COLLECTIONS, WITH A SUFFICIENT INFRASTRUCTURE TO MAINTAIN THEM SINCE THEIR INSTALLATION IS COMPLEX, AND IF ART IS A HARD SELL BY ITSELF, TO POSITION IT IN GOOD COLLECTIONS IS A GIGANTIC LABOR. HOW DO YOU FACE THIS GIANT? DO YOU SEE IT AS SUCH?
CONTINUE READING It is a complex subject because yes, the work of the artists we collaborate with is demanding on different levels.BEATRIZ Not only in INTERVIEW WITH LÓPEZ terms of conservation of the pieces, they are also conceptually complex and most of them propose a specific social commitment. BY CATALINA RESTREPO LEONGÓMEZ We are interested inIN putting our own limits to the test through LARMAGAZINE iPAD APP
Pia Camil, Espectacular Telón, 2013
the artists’ proposals in order to generate arduous assessments of reality. In this adventure intervene multiple aspects and specialized abilities beyond the simple monetary exchange are
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"ART SHOULD ASTONISH, TRANSMUTE, TRANSFIX. ONE MUST WORK AT THE TISSUE BETWEEN TRUTH AND PARANOIA" BRETT WHITELEY
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Filled with the Brilliance of Life, 2011. Courtesy of Victoria Miro Gallery, London
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"MY ART IS THE WAY I REESTABLISH THE BONDS THAT TIE ME TO THE UNIVERSE" -
ANA MENDIETA
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I dream of this country since I was little. I firmly believe that nothing happens by chance and that your soul seeks places it has already visited or that it feels it must visit… so I crossed the world to fulfill one of my life’s greatest dreams: ¡go to India! Before my travel, a friend asked me: “What is your purpose in India?” My answer was: “To find wonderful people, to share their energy and give love”, and he simply answered: “What a beautiful purpose, all that you ask of India she will give…”
ing for, what you need. You need to take it easy, calm down, breathe, exhale, try not to judge, get rid of the western view. Take the necessary time to start appreciating the beauty of things in their simplicity and discover their charm, their magic, their teachings and their stateliness; only that way you can enrich your comprehension and appreciation for India.
CONTINUE READING Everything is impressive there and it all happens at one time, over you, many details to find, boys and girls with black eyeliner that SPECIAL GUEST CATALINA MONCAYO look at you and run, women carrying enormous jars over their heads, men looking at “MOTHERwater INDIA” This was my experience: you in different ways, bicycles, motorcycles, buses, iPAD trains, cows, dogs, monkeys, elephants, IN LARMAGAZINE APP See everything with the eyes of the heart because experience and learning depend on you, on what you want for life, what you are look-
buffalos, noise, soil, music, colors, flavors, wise men, poets, eyes ov-erflowing with spirituality, sellers, gurus, dev-otees… Mother India speaks
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“…no more pussies, no more fake girls, I want a whore from hell” -Courtney Love, from a newspaper ad searching for a new bassist for her band.
LEER EN ESPAÑOL
by Daniel Vega
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In the beginning there was the guitar, attitude and the desire to create, and man saw that it was good. Those who have experienced it know what I’m talking about. That moment when music from records is no longer enough, when even if you give 30 spins to a song you feel there is something missing, a cloud that you can see clearly above you but you can never touch. But in school they sold us the idea that rock was a pastime for men exclusively. Women could only shout excitedly when their favorite bands took the stage, and they followed their idols everywhere; they could even perform a beautiful melody, but what was more important was their looks, their sex appeal or their choreographies. Rock consolidated in the 1960s and quickly defined its eternal gods. But from the whirlwinds
Rock did not require a formal instruction, and years later, punk defined the “do it yourself” aesthetics, just pick a guitar and turn up the volume. The she-rockers from the sixties and seventies expressed themselves to the full experience of being a woman: the good, the nice and the horrible. With an already established base, the following years witnessed the multiplication of bands led and sometimes entirely made up of women. With the paradigm broken since the previous decade, the seventies were a fertile period for feminine expression in rock. Punk arrived with the idea that the primordial was neither virtuosity nor ability, but attitude, the strength and energy left in the stage, empathy and the identification with minorities and groups that went far from the canons. While in 1963 sing-
“…these women left behind the limited frontiers of their time by expressing themselves with honesty and following their instincts” created in London and San Francisco suddenly appeared the first she-rebels: Grace Slick, Joni Mitchell, Janis Joplin, Carole King, true artists that could finally transcend the status of “muses” or “groupies”. They were no longer the melancholic chants or love laments of before; these women left behind the limited frontiers of their time by expressing themselves with honesty and following their instincts. And women could not only sing, play, express themselves, but they could also be heroines of rock, and even experience the excesses that some years earlier would be unthinkable for a lady.
ing in tone or “nice” was the greatest appeal, 1977 and punk brought upon the new ways of free expression, it could be anything but it had to come from the center of the self, exposing their grievances and injustices to the status quo with a guitar on their shoulders. Heart, Joan Jett, The Runaways, Stevie Nicks, names that echoed and left a great mark during that decade. In the late seventies the music industry was turning, a drastic movement that would reconfigure all that was known. Disco music arrived as the last trumpet of the Apocalypse. Rock had became a diluted idea, one
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The Melvins led the charge from small college stations, where niches of audience eddied silently, willing to witness the emerging movement. But maybe it was Sonic Youth, by the hand of Kim Gordon, that crushed all preconceptions and laid the foundations for two generations of bands that would resonate strongly until the last breaths of life of the old millennia. It was the incipient evolution of the woman archetype created in the 70s. It suddenly wasn’t that strange to see bands made up completely of girls. Bands like Bikini Kill, Hole, L7, whose songs, concepts and albums made clear that there was a lot to say, and many more paradigms to crush.
Janis Joplin, 1991
where you could see the broad strokes but that had lost all detail, substance, what gave it some sense. Mainstream had devoured it, only to recreate it to its own pleasure and likeness; it was a pretty profitable genre, and it could be made very attractive to certain groups of peo-ple that needed a voice. But the system requir-ed an update; the last bands were only interested in filling stadiums and appealing to the largest audiences possible. There was no time for meticulousness, ideology or rebellions, everything led to a powerful riff, played as simple and louder as possible.
These bands transformed culture in a moment, and gave power to women as independent individuals looking to escape from the alleyway with no exit established thousands of years before. The songs told of sex, discrimination, pain, drugs, and although it all may seem funny, routine or irrelevant by today’s standards, the performances and lyrics showed a rage towards the establishment and a desire to create a feminine camaraderie that would mark them forever. And they weren’t exclusively a vehicle for musical expression; the leaders of these bands wanted to create a political conscience, got organized and wrote magazines that they published independently to spread the feminine message.
“...and gave power to CONTINUE womenREADING as “...NO MORE PUSSIES, NO MORE FAKE GIRLS...” independent The fury that punk brought uponBY DANIEL VEGA individuals” infected all facets of culture. IN LARMAGAZINE iPAD APP
With the eighties came the boom of alternative music, punk dissected and reimagined as a sophisticated and digestible style. Bands like R.E.M. and
With the maelstrom caused by the arrival of the counterculture to our radios and TVs
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"I THINK PICTURES AND WORDS HAVE THE POWER TO MAKE US RICH OR POOR" -
BARBARA KRUGER
LARMAGAZINE subscribe A Different Kind of Feminism No015 路 sept oct 2014
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