Vestidos, zapatos, césped natural y cenizas
Medidas variables
Escenografía de una vida[1], 2011
Clothing, shoes, natural turf and ashes
Variable dimensions
Texto: Carlo Sala. Curador Fondazione Francesco Fabbri.
Clothing, shoes, natural turf and ashes
Variable dimensions
[1] "Scene of a life."
[el texto en inglés abajo]
[...]
La española Planells trabaja con el medio de la instalación. Tras una reflexión sobre la intensidad de la memoria como testimonio del pasado, realiza en el presente una reflexión sobre el elemento constituyente de nuestro ser actual.
[...] la artista española centra directamente la atención en la reconstrucción del paisaje interior, como reflejo de una mirada existencial.
En esta práctica de la realidad filtrada por los matices individuales, ¿cómo encontrar el punto de unión con la perspectiva identitaria de lo real? Es necesario releer las obras con la conciencia de que tales expresiones son fruto de ciertos rasgos generalizados que las influyen. En este caso, la memoria personal está inevitablemente contaminada por las estructuras culturales. Incluso en la visión de los lugares, persiste una influencia exógena al propio lugar; en particular, la acción de esos mecanismos de mediación cultural, que inconscientemente desembocan en la acción del artista, quien no registra una realidad como tal, sino la percepción de la misma.
Texto: Carlo Sala. Curador Fondazione Francesco Fabbri.
Exposición producida con el apoyo de las ayudas a la Promoción del Arte Contemporáneo Español. Ministerio de Cultura de España.
The Spanish woman Planells works with the medium of the installation. Realised in the present, it turns into a reflection on intense memory as testimony of the past and the constitutive element of our current being.
In the exhibition flow places and fragments of objectivity that are the source of a strong perceptive mediation, before aesthetics. In the universe of contemporary iconography, one of the essential points of passage is again the analysis of the reduced quotidian according to peculiar positions of a suggestive character . . . Even starting from a technical and formal difference, there is a line of continuity in the author's work.
The Spanish artist directly turns the attention to the reconstruction of the “inscape”[1] as reflection of an existential gaze. In this practice of reality filtered from individual sensors, how can one encounter the point of union with the identitarian perspective and reality? It is necessary to reread the works knowing that those expressions are filiations of some diffuse characters that influence her.[2] In this case, personal memory is inevitably contaminated with cultural structures. Also in the view of the same place; in particular the action of the mechanisms of cultural mediation, which do not register a reality in itself, but its perception.
In the exhibition flow places and fragments of objectivity that are the source of a strong perceptive mediation, before aesthetics. In the universe of contemporary iconography, one of the essential points of passage is again the analysis of the reduced quotidian according to peculiar positions of a suggestive character . . . Even starting from a technical and formal difference, there is a line of continuity in the author's work.
The Spanish artist directly turns the attention to the reconstruction of the “inscape”[1] as reflection of an existential gaze. In this practice of reality filtered from individual sensors, how can one encounter the point of union with the identitarian perspective and reality? It is necessary to reread the works knowing that those expressions are filiations of some diffuse characters that influence her.[2] In this case, personal memory is inevitably contaminated with cultural structures. Also in the view of the same place; in particular the action of the mechanisms of cultural mediation, which do not register a reality in itself, but its perception.
Text: Carlo Sala. Curator "Fondazione Francesco Fabbri"[3]
[1] Translator's note: This is in English in the ST as well.
[2] It is not clear
here what the ST "le" refers to. I choose the TT "her," as
Planells is the originator of the work and the ideas that accompany it. I
consider this in line with the general philosophy in the paragraph. However I
am adding in a more specific lexical category than the ST contains: I do so at
risk of failing in this part of the translation task.
[3] Translator's note: This appears to be in Italian.
Exhibition produced with the support of grants for the promotion of Spanish contemporary art. Spanish Ministry of Culture.