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Ragnar Kjartansson (Reikiavik, Islandia, 1976) recurre al juego teatral y sus paradojas para concebir sus obras que a menudo exploran la identidad, la impostura, la biografía y la historia, así como sus políticas de representación. A través de estrategias simples como la repetición o la recreación de una acción desde diferentes escenarios y puntos de vista, el artista produce situaciones que iluminan la materia misma del espectáculo. La repetición revela matices y variaciones con la gravedad de un mantra y la riqueza de una imagen caleidoscópica. Sus performances pueden durar hasta doce horas, suceder continuamente en la sala del museo mientras la exposición está abierta al público, o incluso, repetirse cada cinco años. El humor y el absurdo aparecen en sus obras para amplificar y distorsionar el sentido.
La tensión entre ficción y mentira, espectáculo y confesión, persona y personaje es el hilo que atraviesa los performances, instalaciones, videos y la única pintura de esta muestra de Kjartansson, la primera en América Latina. El título de la exposición es una referencia al poema "Impresiones teatrales" de Wislawa Szymborska, ganadora del premio Nobel de literatura de 1996. En los últimos versos, la poeta evoca el poder del teatro cuando éste revela su truco y crece en su artificio: "Pero lo en verdad solemne es la bajada del telón / y lo que se sigue viendo por una estrecha rendija: / aquí una mano que se precipita hacia una flor, / allá, otra mano recoge la espada caída". Como sucede en varias obras de Kjartansson, el teatro es simulacro y verdad al mismo tiempo.
Curaduría: José Luis Blondet
Asistente curatorial: Lena Solà Nogué
Imagen:
Ragnar Kjartansson
God, 2007
© Ragnar Kjartansson; Cortesía del artista, Luhring Augustine, New York y i8 Gallery, Reykjavik.
Foto: Rafael Pinho
Ragnar Kjartansson (Reykjavik, Iceland, 1976) uses theatrical conventions and their paradoxes to create works that often examine emotions, imposture, the historical and the autobiographic, as well as the politics of representation. Employing simple strategies such as repetition or the recreation of an action from different scenarios and points of view, the artist produces situations that illuminate the very matter of spectacle. Repetition reveals nuances and variations with the gravity of a mantra and the richness of a kaleidoscopic image. His performances can last up to twelve hours, run continuously in the museum gallery for as long as the exhibition is open to the public, or be recreated every five years. Humor and the absurd appear in his work to amplify and distort meaning.
The tension between fiction and lie, spectacle and confession, person and character is the common thread that runs through the performances, installations, videos and paintings in this exhibition by Kjartansson, the first in Latin America. The title of the exhibition is a reference to "Theatre Impressions," a poem by the 1996 winner of the Nobel Prize for Literature, Wislawa Szymborska. In the closing lines, the poet evokes the power of theater once its illusions are revealed and it grows in its artifice: "But the curtain's fall is the most uplifting part / the things you see before it hits the floor: / here one hand quickly reaches for a flower, / there another hand picks up a fallen sword." As is the case in several of Kjartansson's plays, theater is at once simulation and truth.
Curated by: José Luis Blondet
Curatorial Assistant: Lena Solá Nogué.
Image:
Ragnar Kjartansson
God, 2007
© Ragnar Kjartansson; Cortesía del artista, Luhring Augustine, New York y i8 Gallery, Reykjavik.
Foto: Rafael Pinho
Para socializar la heterogeneidad de voces que construyen la exposición colectiva OTRXS MUNDXS y profundizar en el discurso de las obras exhibidas en el Museo Tamayo, le pedimos a lxs artistas que nos hablen acerca de los conceptos o ideas que son importantes para expandir los discursos o motivaciones de su práctica.
