"HERAORA" LEOPOLDO MALER 60 AĆOS DE ARTE / Museo de Arte Moderno, MAM
- OCA | News
- 14 may 2023
- 5 Min. de lectura
Actualizado: 23 jun 2023
OCA|News / Leopoldo Maler / MAM / Mayo 14, 2023 / Nacional
Leopoldo Maler (Buenos Aires, Argentina, 1937), regresa al Museo de Arte Moderno con HERAORA, gran muestra retrospectiva basada en un extracto representativo de su reciente producciĆ³n, incluyendo algunas obras icĆ³nicas de las Ćŗltimas seis dĆ©cadas que ratifican su condiciĆ³n de pionero axiomĆ”tico y accionista emblemĆ”tico de las prĆ”cticas artĆsticas transdisciplinares, disruptivas y renovadoras, tanto en su paĆs natal como en toda AmĆ©rica Latina.
El cuerpo expositivo de HERAORA, estĆ” compuesto por 6 videoinstalaciones; 12 instalaciones; 20 construcciones pictĆ³ricas; 5 instalaciones escultĆ³ricas; 2 esculturas en acero inoxidable y 2 pinturas sobre tela y madera, obras en las cuales Leopoldo Maler utiliza una extraordinaria diversidad de medios, materiales, instrumentos, soportes tecnolĆ³gicos y elementos recursivos como video, fotografĆa, pintura acrĆlica, tela, madera, yute, fibra de vidrio, cristal, pelo sintĆ©tico, acero inoxidable, hierro, energĆa elĆ©ctrica, argĆ³n, DVD players, mĆ”quinas de escribir, motores, bombillas, espejos, televisores, plĆ”stico, luces elĆ©ctricas, gas propano, sonido, papel, fuego, agua y arena.
La selecciĆ³n, incluye una serie de obras axiales en la producciĆ³n de Maler que a la vez devienen icĆ³nicas en los registros histĆ³ricos y reflexivos mĆ”s amplios y rigurosos del arte latinoamericano de las Ćŗltimas siete dĆ©cadas como Men in Silence, Premio Especial del Jurado en el Festival de Cine Documental de Leipzig, Alemania, y premiada como el cortometraje mĆ”s importantes del aƱo en el Festival CinematogrĆ”fico de Londres (1964); Silence, primera instalaciĆ³n multimedia presentada en Londres en 1971 y con la cual introduce en el escenario artĆstico britĆ”nico las ideas progresivas y disolventes que habĆa desarrollado en Buenos Aires desde plataformas culturales vanguardistas como el Instituto Di Tella (ITDT).
Asimismo, Homenaje (1974); exhibida en el Institute of Contemporary Arts de Londres y la Corcoran Gallery de Washington D. C. (1978); Pool of Reflections (1974); La Ultima Cena, con la que obtiene el Gran Premio de la XIV Bienal Internacional de Sao Paolo, Brasil (1977); Silence Witness (1982-2012) y el video-documental del evento performativo Metrobolismo, desarrollado en San Juan, Puerto Rico (2004), ademĆ”s de una serie de obras recientes que destacan por su insĆ³lito vuelo conceptual y su profusa capacidad metafĆ³rica como El fin de un Espejismo (2017); La Interferencia de los Siglos (2019); La sagrada familia (2023) y El trono imposible(2023).
La polivalencia significativa; el espĆritu lĆŗdico y la radical pulsiĆ³n disruptiva que caracterizan estas obras que operan mĆ”s bien como inefables situaciones estĆ©ticas y meta estĆ©ticas, traslucen el signo vanguardista e infalible de los tempranos experimentos audiovisuales de Leopoldo Maler, asĆ como la misma eficacia de los resultados mĆ”s brillantes de sus exploraciones con imagen, movimiento, sonido, gestualidad, ritmo, danza, teatralidad del cuerpo y diseƱo del espacio-tiempo a travĆ©s de sus films, happenings, esculturas, instalaciones, performances y tentativas simbĆ³licas multidimensionales que no sĆ³lo prueban un exitoso trayecto productivo y expositivo de 60 aƱos que le sitĆŗa justamente en el mainstream del arte contemporĆ”neo a nivel internacional, sino que tambiĆ©n revela la inagotable capacidad creadora de Maler, porque el arte es su vida y su vida es pura y perpetua imaginaciĆ³n creadora.
Desde finales de la dĆ©cada de los 60s, Leopoldo Maler, desborda los discursos, dicciones y medios estĆ©ticos convencionales al abordar cuestiones ontolĆ³gicas, sociales, polĆticas, culturales, estĆ©ticas, Ć©ticas, ecolĆ³gicas y humanĆsticas: la vida; la libertad; el deseo; el amor; el dolor; la represiĆ³n; la violencia; la tecnologĆa; la relaciĆ³n del ser humano y la mĆ”quina; la muerte; el absurdo cotidiano; la imaginaciĆ³n; la palabra; el silencio y las utopĆas espirituales.
A lo largo de su productiva, brillante y exitosa trayectoria creadora, para Leopoldo Maler, la experimentaciĆ³n artĆstica se torna en necesidad existencial. Sus ideas irreverentes e incisivas, exaltan su particular ingenio imaginativo y le llevan a la utilizaciĆ³n sistemĆ”tica de medios, materiales, signos, sĆmbolos y recursos evocadores de las sutilezas, complejidades y enigmas radicales del tiempo y el espacio-mundo que habitamos, mediante propuestas intrigantes y provocadoras del asombro, el pensamiento y la especulaciĆ³n reflexiva.
CURADORES: Ana Agelan FernĆ”ndez | Amable LĆ³pez MelĆ©ndez
"HERAORA" LEOPOLDO MALER 60 YEARS OF ART / Museum of Modern Art, MAM
OCA|News / Leopoldo Maler / MAM / May 14, 2023 / National
Leopoldo Maler (Buenos Aires, Argentina, 1937), returns to the Museum of Modern Art with HERAORA, a large retrospective exhibition based on a representative extract of his recent production, including some iconic works from the last six decades that ratify his status as an axiomatic pioneer and emblematic shareholder of transdisciplinary, disruptive and renewing artistic practices, both in his native country and throughout Latin America.
The HERAORA exhibition body is made up of 6 video installations; 12 facilities; 20 pictorial constructions; 5 sculptural installations; 2 sculptures in stainless steel and 2 paintings on canvas and wood, works in which Leopoldo Maler uses an extraordinary diversity of media, materials, instruments, technological supports and recursive elements such as video, photography, acrylic paint, fabric, wood, jute, fiber glass, crystal, synthetic hair, stainless steel, iron, electric power, argon, DVD players, typewriters, motors, light bulbs, mirrors, televisions, plastic, electric lights, propane gas, sound, paper, fire, water and sand .
The selection includes a series of axial works in Maler's production that at the same time become iconic in the broadest and most rigorous historical and reflective records of Latin American art of the last seven decades, such as Men in Silence, Special Jury Prize at the Festival of Documentary Film of Leipzig, Germany, and awarded as the most important short film of the year at the London Film Festival (1964); Silence, the first multimedia installation presented in London in 1971 and with which he introduced to the British art scene the progressive and dissolving ideas that he had developed in Buenos Aires from avant-garde cultural platforms such as the Di Tella Institute (ITDT).
Also, Tribute (1974); exhibited at the Institute of Contemporary Arts in London and the Corcoran Gallery in Washington D.C. (1978); Pool of Reflections (1974); The Last Supper, with which he obtained the Grand Prize of the XIV International Biennial of Sao Paolo, Brazil (1977); Silence Witness (1982-2012) and the video-documentary of the performance event Metrobolismo, developed in San Juan, Puerto Rico (2004), in addition to a series of recent works that stand out for their unusual conceptual flight and their profuse metaphorical capacity such as The End of a Mirage (2017); The Interference of the Centuries (2019); The Holy Family (2023) and The Impossible Throne (2023).
Significant versatility; the playful spirit and the radical disruptive impulse that characterize these works that operate more like ineffable aesthetic and meta-aesthetic situations, reveal the avant-garde and infallible sign of Leopoldo Maler's early audiovisual experiments, as well as the same effectiveness of the most brilliant results of his explorations with image, movement, sound, gestures, rhythm, dance, theatricality of the body and space-time design through his films, happenings, sculptures, installations, performances and multidimensional symbolic attempts that not only prove a successful productive and exhibition journey 60 years old, which places him right in the mainstream of contemporary art internationally, but also reveals Maler's inexhaustible creative capacity, because art is his life and his life is pure and perpetual creative imagination.
Since the late 1960s, Leopoldo Maler has gone beyond conventional aesthetic discourses, dictions, and means by addressing ontological, social, political, cultural, aesthetic, ethical, ecological, and humanistic issues: life; freedom; the desire; love; the pain; the repression; the violence; the technology; the relationship of the human being and the machine; death; the everyday absurdity; the imagination; the word; silence and spiritual utopias.
Throughout his productive, brilliant and successful creative career, for Leopoldo Maler, artistic experimentation becomes an existential necessity. His irreverent and incisive ideas exalt his particular imaginative ingenuity and lead him to the systematic use of means, materials, signs, symbols and evocative resources of the subtleties, complexities and radical enigmas of time and the world-space we inhabit, through intriguing proposals. and provocative of wonder, thought and thoughtful speculation.
CURATORS: Ana Agelan FernĆ”ndez | Amable LĆ³pez MelĆ©ndez
