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Sun, 14 Oct 2012 23:39:00 -0700 FESTIVAL SEXUANTES: (POST) PORNO, CUERPO, PODER Y ARTE. (spa-eng) http://rmercado.posterous.com/festival-sexuantes-post-porno-cuerpo-poder-y http://rmercado.posterous.com/festival-sexuantes-post-porno-cuerpo-poder-y

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(SPA) FESTIVAL SEXUANTES: (POST) PORNO, CUERPO, PODER Y ARTE.

Concepto, Organización y Producción:

Colectivo Sexxxuantes: Hector Acuña y Rossana Mercado

Fecha: Viernes13 y Sábado 14 Julio

Hora: 6 pm

Lugar: ESPACIO CIRCUITO NORTE

Concepto general.

Los medios constantemente nos presentan mujeres en licras fosforescentes junto a cómicos que las toquetean y miran con deseo animal; los periódicos nos muestran cuerpo y carne, sexual y violentada. La risa y el llanto exacerbado. Somos el continente con mayor población joven y también con altísimo índice de agresión sexual contra menores y mujeres; sin embargo, institucionalmente el ojo público no puede concebir al sexo como algo natural y libre de culpas, algo sin suciedad… ¿tendrán estas permisiones y censuras alguna conexión con las estadísticas?

Sexualidad y Pornografía son aun temas considerados como tabú en una sociedad latinoamericana bombardeada por la cultura del massmedia, la internet y la globalización -hibridación cultural, situación que en lugar de ser aprovechable, puede llegar a trastocar pensamientos y actitudes críticas si realmente no se asume una posición concreta de disfrute sin sentimientos de culpa de tales prácticas e imaginarios. El consumo y deleite por la pornografía y práctica sexuales diversas – contrarias o adversas al régimen heterocapitalista normativo – no constituye un estigma ni mucho menos una perversión, sino una postura crítica del ejercicio de nuestra libertad personal -lo que conllevaría con el tiempo y esfuerzo a una liberación político-sexo-social comunitaria - necesaria e imperiosa que implica una lucha constante en un contexto de violencia y silenciamiento de voces y seres diversos.

Bajo el concepto del post porno  buscamos apropiarnos de los confines de la sexualidad en un intento por despojarnos del yugo culposo que recae sobre nuestros cuerpos, individuales y sociales.

Buscamos generar un espacio que refleje la coexistencia de las prácticas más “perversas” con las actividades de nuestra Lima cotidiana; el sadomasoquismo con látex y cadenas con el de las baladas edulcoradas de radio.

La correlación entre el espacio público y sus estructuras con el cuerpo privado y público se revela en los trabajos de los artistas de Perú, Colombia, México, España y Suecia que participan en el festival desde el campo del video, música, action painting, performance, y más.

Acompañaremos el festival con conversatorios alrededor de los ejes temáticos del post porno, cuerpo y poder. Además proyectaremos material filmográfico de la cineasta y guionista Erika Lust y también del reconocido Bruce delaBruce quienes han enviado sus obras bondadosamente para Sexuantes.

Festival Sexuantes tendrá una primera sesión introductoria el mes de Julio (13 y 14) y se convertirá en un fest-in-progress según los designios de su propia concepción antisistema.

En este sentido, buscamos servir de plataforma para la manifestación y difusión de propuestas corpo-sexuales críticas no solo a nivel local, sino recibiendo propuestas de países vecinos representados por artistas inmersos en prácticas sexuales y estéticas marginales que tratan de escapar del control y opresión.

Abrimos así un vehículo para exteriorizar inquietudes privadas en la esfera pública, en un acto de auto reflexión sanador y democrático.

El cuerpo, placentero, rechazado, excitado, violentado, libre, encadenado, cubierto, expuesto, sexual…

(ENG)SEXUANTES FESTIVAL: POST PORN.BODY.POWER.ART

Sexuality and Pornography are issues still considered as taboo in a Latin American society blasted by massmedia culture, internet and globalization – cultural hybridation, situation that instead of being profitable, it may twist critical thoughts and attitudes if we indeed not take a solid stand of enjoyment without feeling guilty of such practices and imaginaries.

The uptake and delight of pornography and diverse sexual practices – contrary or adverse to heterocapitalism normative regime – are not a stigma nor a perversion, but a critical stand of our personal freedom practice – which will lead us, with time and effort, to a communal political-sex-social freedom – necessary and imperative that implies a constant fight in a violent context that silences diverse voices and bodies.

By using the Post Porn conception, we are trying to reestablish the confines of sexuality in an attempt to strip down the guilty yoke imposed over our individual and social bodies.

The relationship among public space and its structures and the private and public body is revealed in the work of artists from Peru, Colombia, Mexico, Spain, Canada and Sweden that take part in this multidisciplinary festival. The film material of Erika Lust and Bruce La Bruce will be projected and discussed in the lectures showing the thematic lines furnished by the artists.

Thus, we are looking to function as a platform of demonstration and spreading of critical body-sexual proposals, not only at a regional scale, but in an international net represented by artists encouraging diverse sexual practices and marginal aesthetics that are intended to escape from control and oppression.

We are opening thus a means to reveal private challenges in the public sphere as a stand of healer and democratic self reflection.

The body joyful, rejected, excited, forced, free, chained, covered, exposed, sexual …

 

PRGRAMACIÓN

VIERNES 13 JULIO

7 PM
Inauguración de instalaciones permanentes
Inicia Action painting:
Yonas Millares (Chile-Suecia)
Cleo Collantes
Angélica Chávez
Mónica Miros 
Maripussy crew

 Oscar Gonzalez “El guache” (Colombia) 


7:30 PM

Conversatorio de Introducción · Colectivo Sexxxuantes (Hector Acuña y Rossana Mercado)
· Moderación por Casa de Citas (publicación de crítica y producción literaria)
· Ponencia “Post- Porno”de Erika Almenara (Universidad de Michigan) 
· “Safe Slut” de Colectivo New Beauty Council (Suecia)
. Comentarios por Claudia Arteaga (Rutgers University)

8:00 PM Pinina Flandes performance on line desde Bogotá

9 PM
Videoarte de La Fulminante, Pinina Flandes y Lady Zunga (Colombia)

10 PM: Performance de Cecilia Rejtman
10:15 PM: Daniel Quiñones Video performance y música en vivo
11 PM: Proyección del galardonado film “Cabaret Desire” de Erika Lust
12:30 PM SEX PARTY Dj Frau Travesti Residente sesión

Proyección de visuales de “Life Love Lust” y “Room33” de Erika Lust 
Dj Haru Yami
INTERVENCIÓN LEATHER PERÚ


SÁBADO 14 JULIO 

7 PM:
Mesa Redonda moderada por Casa de Citas
Alfredo Vanini
Fernando Escobar Paez (Ecuador) Poesía post-pornográfica
9 PM 
ZONA VIDEOARTE INTERNACIONAL
Videoarte de Colectivo Post Op (España), Felipe Rivas San Martín e Hija de Perra (Chile)
Videoarte y Performance on line “Sábado de Gloria” de Lechedevirgen Trimegisto (México)

9:30 PM Blue Performance Hip Hop
10 PM El Galpón Espacio Performance
10:30 PM Pole Dance Performance (Angélica Yrigoyen y Eka Horna)
11 PM Roger Master, Fetish Performance (Shibari, Bondage Performer: Fabiana Barba)
11:30 PM Proyección de Films de Bruce La Bruce “Skin Flick” y “Hustler White”
12:30 AM SEX PARTY Dj Frau Travesti Residente sesión
Performance in-situ Laviuda Alegre
Performance de Carla Montalvo
Dj Haru Yami
visuales de Bruce La Bruce y Gay Porn Hardcore

Instalaciones permanentes: 

Videoarte:
Alvaro Icaza“Try to squeeze a drop” (Perú, Barcelona)
Verónica Luyo, “A través” (Perú, Barcelona)
Carlos del Aguila (Perú)
Colectivo Post Op (España)
Carlos León Ximenez (Alemania) “Male Mammal foreplay behaviour. A study case”
Wincy “Empana de Pino” (Chile)
Lucía Diego “Ghy da Lupsti” (Colombia)
Hector Acuña “Male by Frau”y “Priapo” (Perú)

Fotografías de Rodrigo Espinoza y Germán Ballesteros
Ilustraciones de Pedro Palanca y César Chavez
Instalaciones de Willy Zambrano, Porno y Fetish de Leather Perú y Perú BDSM
Expo venta La Viuda Alegre, Chocolate Joyería, S2 Divine, Leather Perú

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Thu, 15 Dec 2011 14:50:00 -0800 Skål-Salud: Street Stories (Lima- Stockholm) http://rmercado.posterous.com/skal-salud-street-stories-lima-stockholm http://rmercado.posterous.com/skal-salud-street-stories-lima-stockholm

 From: http://www.valeveil.se/posts/bow-and-arrow-skal-salud-street-stories

Concept / Theory / Inquiry
Skål-Salud: Street Stories is a curatorial experiment aiming to explore constructions of otherness and expand communication, beginning with a dialogue between urban artists from two locations: Lima and Stockholm. This construction is not static nor is it exclusive of the interlocutor. Instead, it intends to be an osmotic platform where participants configure an alternative form of contextualization, revolving around their practices with regard to their sociopolitical milieu. The interest lies primarily in urban street artists. 

A Global Public Space
This project will generate a virtual, hybridized public space where two artists serve as “ambassadors” for each city. They will engage their peers to become involved and create a representative platform for their stories—as it often is on the streets. Skål-Salud: Street Stories will generate a website serving as a virtual “wall” where artists can be seen and heard. Without being silenced or underground, those involved are encouraged to discuss the politics which affect their behavior and actions.

In Die Traumdeutung, Freud defines the interpretations offered by psychoanalysis as translations from a foreign mode of expression into the one which is known to us, stating that “a dream is a (disguised) fulfillment of a (suppressed or repressed) wish.”1 However, the emancipatory effect that this exteriorization has on the individual has been studied by Habermas in his theories of the public sphere as a space for “self-reflection.” He identifies this self-reflection with translation: translation of the unconscious into the conscious. “In discourses that focus on a shared subject, participants turn their backs on their private lives. They do not need to talk about themselves. The line between public and private spheres does not become blurred; the two complement each other instead.”2

Cutting the Space
Lima is chaotic, crowded and underprivileged. Stockholm is more spacious, controlled and wealthy—or is it? This idea approaches the human problematic. The curator has lived in both cities discovering that desolation, oppression and poverty are strongly felt for many individuals; the presence of these factors grows rapidly on the streets. In Skål-Salud: Street Stories, translation is not merely personal or subconscious; it is also material and often a curator’s role. “Such translation emphasized the inevitability of betrayal, which gnaws at the heart of the difference between the speaker and the translator.”3

The goal of overcoming ingrained differences between participants will be addressed utilizing the tools of friendship and communication. The project’s primary participants (“Blue,” Yonas Millares and Rossana Mercado Rojas) speak Spanish fluently, have shared one beer more than mandatory and their cultural perspectives serve as a catalyst to further examine urban art—street slang inclusive. For instance, a specific word (e.g. hora) is spelled the same in both Swedish and Spanish, but it has different meanings which inspire word play for some urban artists.
 

Interdisciplinary Input
 Skål-Salud: Street Stories does not intend to only present a multidisciplinary result / conclusion but a configuration of dialogues and references originating from multiple languages and codes. This interdisciplinary approach will assist in “cutting the space” between Scandinavia and South America and between practices.

Virtual Bar
“Blue,” Millares and the curator began conversations (in Spanish) August 2011. They wish to cultivate the ambiance of a genuine bar table, disregarding conventional “work meeting” structures to liberate dialogue and better exchange cross-disciplinary input. Skype chatting and drinks are tools to construct this virtual public gathering and bar space.

More On the Name
Having a Peruvian background, sharing a beer in a bar was a natural professional meeting form to work and produce. One could be productive in this setting, develop ideas and make them happen. Artists often gather in bars to produce art. In Peru,4 there are no strict closing times nor defined rules for selling alcohol. Alcohol consumption relates to the spontaneous part of the day; people often drink outdoors and play music after a hard day’s work. Yet, alcohol also relates to sickness, to the venom of the poor, forgotten and unheard, making them invisible and unbearable to view. With alcohol, their sorrow is undignified. Therefore, society neglects them; they are seen as pariahs.

Work meetings in Stockholm rarely happen in bars or spontaneously during an evening out. Systembolaget’s weekend shopping ritual differed from the curator’s previous perspective on drinking. Millares once offered Mercado wine from the couch of his piece Monetary World (2011). Since then, they share a goal to create strategies to dissolve icy rules between individuals, between “the people” and an oppressive system which can be a catalyst for injustice. Many urban artists suffer the consequences of practicing in a society such as Stockholm—with high fines and sometimes unavoidable consequences. So, they practice underground and develop behavior, ranging from paranoia to combative or defensive responses. Coming from a Peruvian / Latin-American perspective, a correlation exists between hyper-controlled public spaces and the difficulties poverty presents.

Technique(s)
» Dialogues in a virtual public bar to create topics regarding public space: an artistic platform mirroring socio-cultural factors.
» Millares and “Blue” share musical and visual arts knowledge which will be used to generate an alternative interpretation to contextualize an audience, utilizing not only a museographic approach but also empathy, experience and casual conversation.
» Both artists work with public space, and their art represents a narrative related to their respective societies. Site-specific elements will surface, expanding conversation between two realities to generate a new shared space.
» The exchange will knit an informative web starting with these two realities.
» Two interpretations of each artist’s reality will emerge: visual and musical.
» Using anecdotes and conversation, this project will illuminate legal influences on these urban art scenes and their strategies.

How Does it Work?
“Blue”-Millares-Mercado

» The curator and artists Skype-talk in a staged virtual bar, exchanging ideas for website production.
» The curator sends emails initiating topics in preparation for each virtual bar meeting (e.g. each city’s public space, artist’s connection to their urban art scene).
» One preliminary idea is to generate a video with music by “Blue” and visuals by Millares. A website will display results.

Nodes of Connection
This project has been virtual from the beginning; it will be a platform for each city’s urban art scene. This community portal will host videos, images and conversations uploaded by artists and other participants. “Blue” and Millares serve as nodes of connection to the grouped street artists of Casa Poco Floro and the underground, outlawed artists of Stockholm.

Stockholm-Lima
The project intends to bring Millares and another Swedish street artist to Lima to produce and exhibit work in Casa Poco Floro and collaborate with other collectives; in parallel, an “underground” event in Stockholm will be arranged for “Blue,” and her events will be anonymously live-streamed (in regards to location). This exchange will provide closure, enforcing the idea of this proposed community.

Itinerary
» “Blue”-Millares-Mercado: three months is needed for project development, scheduled for March 2012.
» Nodes of Connection: website launch is scheduled for May 2012.
» Stockholm-Lima: this sub-project is dependent upon many factors; deadline tbd.

How Project Assists valeveil
Skål-Salud: Street Stories is a curatorial approach reaching individuals in Peru, Sweden and elsewhere. The project allows individuals from these two contrasting backgrounds and sociopolitical circumstances to collaborate. This project intends to further examine South American and Scandinavian creativity; there is room for creative experimentation in the field of urban street art in both Lima and Stockholm. The curator and two ambassadors for each region are not anonymous, but additional participants have the right to protect their identities.

In Suzi Gablik’s essay “Connective Aesthetics: Art After Individualism,” the critic argues for a new kind of artist who understands that “the boundary between the Self and the Other is fluid rather than fixed, that the Other is included within the boundary of selfhood.”5 Yet, this statement is contrasted by the differences between Lima and Stockholm, between cultures that will surface while working on this project. The goal is not to generate a merged common space but to identify the identity of each part. This project aims to create a more open discussion based on reconfiguring the individual in the public space. By examining public space as a political sphere which is oftentimes restricted, this project aims to amplify marginalized voices of both cities. Skål-Salud: Street Stories seeks real and direct representation for artists perceived to be underground.

About the Artists / Ambassadors


“Blue” (b. 1986, Lima) is the alter ego of Stephanie Valdivieso who belongs to one of the first all-women street art collectives Maripussy and to HDU (Hermanas del Underground) with two other female rap artists. “Blue” participated in The Lima Municipality Celebration for the Day of Women (2011); she often collaborates with other rappers. Her vivid lyrics highlight women’s struggle and strength in society as in her song “Rosas para Margarita.” She is a strong presence in Lima’s hip-hop and urban art scene, with frequent shows at festivals.

Yonas Millares is a Sweden-based artist born in Chile. He studied painting at Västerås Konstskola then began researching his Chilean roots. This led to questioning society, regarding power, hierarchies, the monetary system and conflicts: the dualities of life. He later attended Gerlesborgskolan in Stockholm to cultivate his graphical style using symbols and patterns, influenced by activism and Santiago’s colorful street art. At Liljevalchs Konsthall’s 2011 spring exhibition, Millares presented the painting The Monetary System; his first solo show at Pony Sugar was “Exxpreción Libre.” Millares uses his exhibitions as a reflection and dialogue space to display art which mirrors the audience that he wishes to both communicate with and attract. In The Monetary World, 2011, he publicly staged a couch removed from the subway to be painted. Reuse of material once used by a wealthy corporate entity presented the audience with a new message; the couch was adorned with sentimental, dense colors denoting strength—expressing the Chilean-Mapuche search for identity. Wine in hand, sitting on this couch during his exhibition “Exxprecion Libre,” Millares invited each passerby to talk with him, invalidating the notion of the shy exchange student, immigrant or law-silenced street artist in Stockholm. He has a B.A. from Konstfack University College of Arts, Crafts and Design.

About the Arrow Curator
Rossana Mercado Rojas (b. 1982, Lima) is an artist and curator. She has been developing projects with Peruvian and European artists to investigate translation forms, (re)creating hybrid contexts generating dialogue between dissimilar societies—stretching curatorial and artistic roles. For her M.A. thesis, she worked with urban knitting in different socio-geographical circumstances, collaborating with art collectives Stickkontakt (Sweden) and C.H.O.L.O. (Peru). Other projects include: Medium Rare (Sweden, 2009)—in collaboration with Foro Latino, SAL (Latinamerikagrupperna) and FIANSverige—and the curated exhibition “Buitre: de Bulimias y Carroñas” (Lima, 2009). She is currently working on projects in Lima focusing on literature, social science and pedagogy. Mercado holds a B.A. from the Pontifical Catholic University of Peru in the Arts (2008) and is expecting a M.A. from Konstfack University College of Arts, Crafts and Design in Curatorial Practice (Stockholm).

Additional Collaborators
» Casa Poco Floro  (Peru)
A cultural center in the historical part of Lima which is also chaotic and where “underworld” cultural production occurs. Several art and design collectives work at Casa Poco Floro periodically producing events to support the space, but it is not officially a cultural center. The name Poco Floro (few words) explains that its focus lies in urban art,6 graffiti, mural, street performances and visuals.

Links
» Yonas Millares
» “Blue” / Stephanie Valdiviezo
» Skål-Salud site (under construction)

Contact Info
rossanamercado@gmail.com

1. Sigmund Freud, The Interpretation of Dreams, 3rd edition (New York, NY : Macmillan, 1913), 1.
2.
Public Space and Political Public Sphere: The Biographical Roots of Two Motifs in My Thought. 11 November 2004. <http://homepage.mac.com/gedavis/JH/Kyoto_lecture_Nov_2004.pdf>.
3.
Gayatri Chakravorty Spivak, “More Thoughts on Cultural Translation.” European Institute for Progressive Cultural Policies. April 2008. <http://eipcp.net/transversal/0608/spivak/en>.
4.
Based upon both my experience and Yonas’s, bar opening hours and the regulation of alcohol consumption are similar for many Latin-American countries.
5.
Suzi Gablik, “Connective Aesthetics: Art After Individualism” in Mapping the Terrain:
New Genre Public Art, ed. Suzanne Lacy (Seattle, WA : Bay Press, 1995).
6.
In Peru, urban art is closely linked to arte popular (connected to identity, opposed to academic paradigms). It is related to the Mestizo culture and the aesthetics of combining the countryside with urban culture.

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Sun, 03 Apr 2011 19:17:00 -0700 Knitting Matter (Materia del Tejido), 2011 http://rmercado.posterous.com/knitting-their-abscence-2011 http://rmercado.posterous.com/knitting-their-abscence-2011


Knitting Matter [Materia del Tejido] is a collaborative curatorial project that explores the possibility of textile as an alternative language and its political potential in public space within different socio-geographical circumstances. The project is a collaboration between Stickkontakt (Sweden) and C.H.O.L.O (Peru) and takes place both in Stockholm and in Lima.

 

C.H.O.L.O. is an artist collective based in Lima and has participated as a group since 2007 in various meetings, exhibitions, festivals and workshops. Their work promotes local identity values and environmental awareness through both artistic and educational activities. The collective encourages inter-cultural dialogue alongside community involvement, and aims to investigate the concepts of community art, local participation and local identity.

Stickkontakt is a feminist collective based in Stockholm. They have been working undercover since 2007, disrupting the routines of the inhabitants of the city by placing knitted pieces in different areas. Their aim is to decontextualize a feminine and domestized handicraft by taking it out to a predominantly male, public space. While the act of knitting becomes revalued in itself, the action of unexpectedly placing the knitted objects destabilizes the public space at the same time.

The project started with web-based dialogues between the two groups about topics such as participatory events, socially engaged art and methodology. Stickkontakt’s craftivism and street art in Stockholm complemented C.H.O.L.O's long experience regarding participatory projects in Lima. Knitting was approached differently by each group. Stickkontakt related it to feminine representation in the male urban landscape. C.H.O.L.O related it to tradition and local Peruvian identity. In different ways, both groups joined each other by giving space to marginalized voices.

The two collectives also produced participatory workshops in different ways. Occasionally, all of C.H.O.L.O´s members lived in Ventanilla in Lima, where one third of the population lives in shanty towns and collaborated with different associations that usually gather together in order to improve the quality of life in the local community. The most recent workshop, organized as part of Knitting Matter, took place on the first of May this year in the shanty town “Hijos de Grau”  in Ventanilla. By locating the workshop there, C.H.O.L.O wanted the project to function as an empowering tool in order to discuss socio-cultural topics in a certain socio-geographical situation. How can knitting be a form of empowerment of a community by the representation of the collectivity in the public space?

The result was "Tapestry of collective memory” [Tapiz de la memoria colectiva] - a four piece tapestry with designs from the everyday life in Ventanilla and woven using recycled plastic bags. The recycled bags are interpreted as a symbolic product of the current state of “modernity” in Peru.


In Stockholm, Stickkontakt wanted to engage and work with people other than its members in a workshop named “Stripped down, shut off”. The group held the first kni

tting meeting during “Påskuppropet” on April 25th, a demonstration against the changes of the health security reforms in Sweden. Citizens are now being transferred from the health insurance system to the unemployment system without getting proper assessment and rehabilitation regarding work capacity. This has in many cases caused the deterioration of their condition and in some cases even led to suicides.

 The intention was to bring about a collective crocheting action against these changes, together with people who have been directly or indirectly affected by its consequences. However, it was extremely difficult to make contact with individuals concerned, although attempts were made through social media, on-site at the “Påskuppropet”, and through direct mail. Attempts to widen up the participation of the people affected lead to a call for sharing text or words in order to share experiences; unfortunately this did not pay o either. Stickkontakt, in the end, made the piece themselves using recycled materials such as plastic bags and other everyday materials
such as toothpaste tubes and old clothes. These materials were used to reinforce the presence of everyday life, which we all can relate to, and to the private, personal and intimate sphere. The use of these materials is symbolic of the economic situation of the
people affected by these issues. You can use only what you have.


 

 

[Materia del Tejido]  es un proyecto curatorial colaborativo que explora la posibilidad del textil como lenguaje alternativo y su potencial político en el espacio público en diferentes circunstancias socio geográficas. El proyecto es una colaboración entre Stickkontakt (Suecia) y Cholo (Perú) y se llevó a cabo tanto en Estocolmo como en Lima.

 
C.H.O.L.O. es un colectivo de artistas establecido en Lima y ha participado como grupo desde el 2007 en diversos seminarios, exposiciones, festivales y talleres. Su trabajo promueve los valores de identidad local y conciencia ambiental tanto a través de actividades artísticas como educativas. El colectivo promueve el diálogo intercultural, junto con la participación de la comunidad, y tiene como objetivo analizar los conceptos de arte comunitario, participación e identidad local.


Stickkontakt es un colectivo feminista establecido en Estocolmo. Ellas vienen  trabajando en el anonimato desde el  2007, irrumpiendo en la rutina de los habitantes de la ciudad mediante la colocación de piezas tejidas en diferentes áreas. Su objetivo es descontextualizar un arte femenino y domestico sacándolo a un espacio público predominantemente masculino. Si bien el acto de tejer se revaloriza en sí mismo, a su vez la acción inesperada de colocar los objetos tejidos desestabiliza el espacio público.


El proyecto comenzó con diálogos a través de la web donde se trataron temas tales como eventos participativos, arte social y la metodología usual de cada grupo. El “craftivismo” (activismo que hace uso de técnicas artesanales) y el arte urbano de Stickkontakt en Estocolmo complementó la larga experiencia de C.H.O.L.O en cuanto a proyectos participativos en Lima. Cada grupo tuvo diferente enfoque con respecto al tejido. Stickkontakt lo relaciona con una representación femenina en el paisaje urbano masculino. C.H.O.L.O. lo relaciona con una tradición e identidad peruana locales. De diferentes maneras, ambos grupos se unieron para dar espacio a una voz marginal.


Los dos colectivos también produjeron talleres participativos con diferentes enfoques. En algún momento todos los miembros de C.H.O.L.O vivieron en Ventanilla (Lima), donde un tercio de la población vive en asentamientos humanos; aquí trabajaron
con diferentes asociaciones que por lo general se reúnen con el fin de mejorar la calidad de vida en la comunidad local. El taller más reciente, organizado como parte de “Materia del Tejido”, tuvo lugar el primero de Mayo de este año en el A.H."Hijos de Grau", en Ventanilla. Al ubicar el taller allí, C.H.O.L.O. manejó el proyecto como una herramienta de empoderamiento para discutir temas socio-culturales en una determinada situación socio-geográfica. ¿Cómo puede el  tejer ser una forma de empoderamiento de una comunidad mediante la  representación de la colectividad en el espacio público?
El resultado fue "Tapiz de la memoria colectiva", un tapiz de cuatro piezas con diseños de la vida cotidiana en Ventanilla y tejida con bolsas de plástico recicladas Las bolsas recicladas se interpretan como un producto simbólico de la situación actual de "modernidad" en el Perú.

En Estocolmo, Stickkontakt quiso participar y trabajar con personas fuera de sus miembros en el taller "Stripped Down, Shut off"(Desnudo y silenciado). El grupo convocó a la primera reunión para tejer en "Påskuppropet" el 25 de abril, una manifestación contra los cambios a partir de las reformas en el seguro de salud en Suecia. Los ciudadanos están siendo transferidos desde el sistema de seguro de salud hacia el sistema de desempleo sin recibir una evaluación adecuada o rehabilitación con respecto a su capacidad de trabajo. Esto ha provocado en muchos casos el deterioro de su condición sanitaria y en algunos casos incluso los ha llevado a al suicidio.

La intención fue lograr una acción colectiva de tejido a crochet contra estos cambios bruscos, en conjunto con personas que han estado directa o indirectamente afectados por sus consecuencias. Sin embargo, fue muy difícil entrar en contacto con las personas afectadas, aunque se intentó a través de los medios de comunicación social: en el lugar donde se llevó a cabo "Påskuppropet", y a través de correo. Los intentos para ampliar la participación de los afectados abarcaron también una convocatoria para compartir experiencias en forma de palabras o texto a través de correo, lamentablemente esto no dio resultados tampoco. Al final Stickkontakt tejió la obra usando materiales reciclados como bolsas de plástico y otros materiales de uso cotidiano, tales como tubos de pasta de dientes y ropa vieja. Estos materiales fueron utilizados para reforzar la presencia de la vida diaria, domestica, con la que todos pueden relacionarse, así como también el ámbito privado, personal e íntimo. El uso de estos materiales es un símbolo de la situación económica actual de las personas afectadas. Utilizar sólo lo que se tiene.

Fotografías del Proyecto presentado en Estocolmo

 

 

(sve)

Knitting Matter (Materia del Tejido) är ett samarbets- och curatorprojekt som undersöker möjligheterna för det textila som ett alternativt språk samt dess politiska potential i det offentliga rummet inom olika socio-geografiska kontexter. Projektet är ett samarbete mellan Stickkontakt (Sweden) och C.H.O.L.O. (Peru) och utförandet sker i både Stockholm och Lima.

C.H.O.L.O. är ett konstnärskollektiv baserat i Lima, som sedan 2007 deltagit i olika möten, utställningar, festivaler och workshops. Deras arbeten lyfter fram och främjar värdet av lokal identitet och miljömedvetenhet genom både konstnärliga och pedagogiska aktiviteter. Kollektivet uppmuntrar till såväl interkulturell dialog som till lokalt samhällsengagemang och har som mål att undersöka begrepp som deltagarkonst, lokalt deltagande och lokal identitet.

 Stickkontakt är ett feministiskt kollektiv baserat i Stockholm. De har arbetat under alias sedan 2007 med att störa/ge något oväntat till invånarna i staden då dessa rör sig på sin vanliga rutt i vardagen, genom att placera stickade och virkade verk på olika platser.  Deras mål är att dekontextualisera ett feminint och till hemmet relaterat hantverk genom att ta det ut i en övervägande av män skapad offentlig miljö. Samtidigt som handlingen ”att sticka” i sig omvärderas, destabiliseras också det offentliga rummet av det oväntade utplacerandet av det stickade objektet.

 Projektet startade med webbaserade samtal mellan de två grupperna om ämnen såsom deltagandeprojekt, socialt engagerad konst och metoder i hantverk och utförande.  Stickkontakts erfarenhet av craftivism och gatukonst i Stockholm kompletterades med C.H.O.L.O:s långa erfarenheter av deltagarprojekt i Lima. De båda grupperna närmar sig hantverket stickning på olika sätt. Stickkontakt relaterar det till kvinnlig representation i en manlig urban miljö. C.H.O.L.O. relaterar det till tradition och lokal identitet i Peru. På olika sätt, skapar de båda plats för marginaliserade röster.

 De två grupperna genomförde deltagandeprojekt, på sinsemellan olika sätt. Medlemmarna i C.H.O.L.O. har alla tidvis bott i Ventanilla, en förort till Lima, där en tredjedel av invånarna bor i kåkstäder, där de gjort samarbeten med olika grupper som vanligtvis samlas och arbetar för att förbättra livskvalitén i den lokala omgivningen. Den senaste workshopen, organiserad som en del av Knitting Matter, skedde den 1:a maj i år i Kåkstaden ”Hijos de Grau” i Ventanilla. Genom att förlägga workshopen där ville C.H.O.L.O. att projektet skulle fungera som ett redskap för att möjliggöra diskussioner kring sociokulturella ämnen i en specifik sociogeografisk situation. Hur kan stickning ge kraft/möjligheter åt en samhällsgrupp genom representationen av det kollektiva i den offentliga miljön?

 Resultatet blev ”Tapestry of collective memory” (”En väv av kollektiva minnen” /”Tapiz de la memoria colectiva”)- en väv/gobeläng i fyra delar med bilder från vardagslivet i Ventanilla, vävd med återvunna plastpåsar. De återvunna platspåsarna tolkas som en symbolisk produkt av det nuvarande tillståndet ”modernitet” i Peru.

 I Stockholm ville Stickkontakt engagera och jobba med andra än de egna medlemmarna i ett verk med namnet ”Stripped down, shut off”. Gruppen höll ett första stick- & virkmöte i samband med ”Påskuppropet” 25 april, en demonstration mot förändringarna i de svenska sjukförsäkringsreglerna. Medborgare flyttas över från sjukförsäkringssystemet till arbetslöshetskassan utan att erhålla ordentliga bedömningar och rehabiliteringsinsatser gällande arbetsförmågan. Detta har i många fall lett till att drabbade människors hälsotillstånd försämrats och har i några få fall även lett till självmord.

Avsikten var att få till stånd en kollektiv virkningsaktion mot dessa förändringar tillsammans med människor som blivit direkt eller indirekt påverkade av dess konsekvenser. Det var dock oerhört svårt att få kontakt med berörda, trots att försök gjordes via sociala medier, på plats vid Påskupproret samt via direktmejl. Försök med ändring av medverkan-insats från stickning/virkning till bidrag i form av ord eller text kring berördas erfarenheter gjordes också, men inte heller detta gav resultat. Det slutade med att gruppen gjorde en virkning själva. Materialen som användes var återvunna platspåsar, andra vardagsmaterial såsom tandkrämstuber och dylikt samt gamla kläder. Dessa material användes för att förstärka närvaron av vardagsliv, som vi alla kan relatera till, samt till den privata, personliga och intima sfären. Användandet av dessa material symboliserar den ekonomiska situationen för människorna verket berör. Man får ta vad man har.

THANKS TO /AGRADECIMIENTOS:

C.H.O.L.O: Nancy Viza, Wilder Ramos, Marcelo Zevallos http://www.xxxcholoxxx.blogspot.com

Stickkontakt: Brunaluna http://www.stickkontakt.blogspot.com/

Collaboration:
 

Photography: Brian Silva (Peru) rasimal@gmail.com www.briansilvamaldonado.blogspot.com +51 999866267

Video: Angelica Chavez (Peru) acre_1@hotmail.com
 

Catalogue: Sophia Durand elsextodedo@gmail.com

Curator: Rossana Mercado Rossanamercado@gmail.com /(swe)+46 (0)700788519 /(per) +51 991692466
 

Illustration: Javier Herbozo javier.herbozo@gmail.com http://www.canelita.com

 


KNITTING MATTER AT KONSTFACK DEGREE EXHIBITION 2011 http://www.konstfack2011.se/master/mawi/rossana-mercado/

1. C.H.O.L.O showing their technique with recycled bags to knit.

 

 

2. Stickontakt showing various techniques of knitting/crocheting with recycled items

 

 

 

Presentation at Tellus Biocafe/May 23rd, Stockholm, Sweden

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Sun, 03 Apr 2011 19:01:00 -0700 Medium Rare. In between Peru and Sweden http://rmercado.posterous.com/medium-rare-in-between-peru-and-sweden http://rmercado.posterous.com/medium-rare-in-between-peru-and-sweden

This ongoing project intends to use the concept of 'danger' as a stage of vulnerabilization that could help cut distances between different individuals in different socio geographic contexts. Each one of the six artists made use of different art mediums to emphasize the problematic of communication and in order to approach the concept from all the sides possible.

Press text for the first part of the exhibition that took place at Konstfack Galleri in Stockholm froOctober 7th until October 17th. The second part will take place in Lima, Peru at the Cultral Centre of the ENSABAP in October 2011:

Medium Rare. Part1. Stockholm, 2009

 

This exhibition is the result of the recorded process of six artists from Stockholm (Sweden) and Lima (Peru) working respectively on the theme of "danger" each one with different techniques and approaches.
The image we have about other groups of people outside our own context is usually filled with filters and stereotypes that keep us protected on the other side of the glass / monitor. When facing a situation of imminent  or tangible danger, a human being, vulnerable and helpless, gets rid of social and cultural boundaries and responds similarly even under divergent circumstances.

Danger, as the intimate and personal fear of losing control as well as potential for creativity is expressed in the detailed artisan processing of the jewels of Lisa Björke; versus the schematic nature of Claudia Perez´s painting that proposes danger as the stimulant for a “free fall” where fear becomes a rugged but systematic abandonment.
Angelica Chavez explores, with a series of intervened photos, the crushing monster of everyday life that stalks our individuality, our goals; in contrast, the ritual vase in glass lined with silver sheets of Nina Westman explores the safety and trust in a heavenly or political system, maybe distant and gloomy but-with great faith-infallible. The vivid against the intangible danger.
The connectivity of which we depend for existence and also the fragile mediums that support it are explored by the virtual piece of Paola Torres and her use of technical equipment to (over)stimulate human tendencies and the need to expose or to sneak. By embroidery work on water-soluble material, Eva Jakovits explores the social and symbolic quality of laces (bonds).
  The process began with the call of the organizations FIAN (FoodFirst Information & Action Network) and SAL (Solidarity Sweden-America) America for a project parallel to "Foro Latino" (Inspiration Latinamerika) to extend the discussion of the major issues in this event, such as the importance of media and culture as creators of images of hunger, needs and poverty.
The communication between artists, curator and organizations involved in the realization of this project began earlier this year and the execution of works developed from May until early September. In this process the communication between the artists was limited in order to explore an individual approach to the subject avoiding like this the formation of two separated (regionally) groups. In the end, despite the formal differences, a punctual connection can be seen among all the works
.

Catalog designer: Ami Izaki http://www.amiizaki.com izakiami@gmail.com

Thanks to

FIAN http://www.fian.org 

Latinamerica-Sweden group http://latinamerikagrupperna.se/

Embassy of Peru http://www.peruembassy.se/

Konstfack College of Arts, Crafts and Design http://www.konstfack.se/

R. Mercado/curator

Medium_Rare_englishpress.pdf Download this file

 

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Sun, 03 Apr 2011 18:41:00 -0700 Buitre: De Bulimias y Carroñas. (Vulture: Of Bulimia and Carrion). Lima, 2009 http://rmercado.posterous.com/buitre-de-bulimias-y-carronas-vulture-of-buli http://rmercado.posterous.com/buitre-de-bulimias-y-carronas-vulture-of-buli

Buitre*: De Bulimias y Carroñas. 

*'Buitre' is Vulture in Spanish, is also a wordplay meaning vulture, the bird, and a colloquial form to name vomiting.

“Durante el minuto que dura la iluminación de una mentira, me fabrico un pensamiento de evasión, me echo sobre la falsa pista que me indica mi sangre. Le cierro los ojos a mi inteligencia y, dejando que lo no formulado hable en mí, me hago la ilusión de un sistema cuyos términos ignoro. Pero de este minuto de error me queda el sentimiento de haberle arrebatado algo real a lo desconocido. Yo creo en las conjuraciones espontáneas. No puede ser que no encuentre un día una verdad por las rutas a que me arrastra mi sangre…”
Antonin Artaud (1)
En dibujos, montajes, videos, óleos, Mercado combina aspectos desde el morbo a la autoflagelación, sus vivencias, la música, el video con el retrato clásico. Por esto creo que para comprender su obra, tienen tanta importancia sus experiencias, como los ritmos de Black Sabbath, Alice Cooper, la literatura de Kafka, Artaud, Nietzsche, Poe o Lovekraft. Entre los artistas que ha observado están los accionistas vieneses, Gina Pane, así como Marilyn Manson, y de los clásicos el Bosch, Miguel Angel, Van Gogh, Munch, así como la escuela Barroca Española.

Independientemente de las relaciones que realmente existan entre la artista y sus experiencias, muchos de sus trabajos sugieren vivencias íntimas u oníricas. Mercado emplea grandes formatos, así como la introducción del dibujo con el video, combinándolos también con sus pinturas. Se puede seguir su pincelada en superficies transparentes, que nos sugieren un método intuitivo de pintar, reforzando la impresión de la inmediatez y la emocionalidad. De este modo consigue dar a sus imágenes privadas la apariencia de públicas, jugando entre lo intimo y sensible tan característico de su obra.

Recordando finalmente a Gina Pane que dijo un día: “Dibujar, es como tener una granada en la mano. Descuide la prisa, y le explota la figura…” (2)


María Burela


(1) Artaud Antonin. “Carta a la Vidente”. Editions Gallimard. Barcelona 1971.pag 51
(2) “Gina Pane” Beaux Arts. Ecole Supervievre Le Mans. exposition 2000. pag 107.

Experiment around ‘landscape’ in the form of anthology of RossanaMercado, as artist. Taking the text Fabla Salvaje(Wild Fable)** as a starting point, the intention was to stage a voyage around the landscapes interiorized by the artist in her walk through the spaces she relates to ‘home’ and family (the Andes); and as counterpoint the landscapes exteriorized from inside of herself. By playing with the traditional form of presenting landscape paintings and the location of the gallery, in the middle of the main town in Lima, we pretend to portray an imagery of the individual inserted in a distorted and disrupted city, the nervous outcomes of the collision between the real space and the constructed.

** Fabla means fable, conversation and conspiracy. In the text it relates to wordplay of these three definitions.


 

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Sun, 03 Apr 2011 17:39:00 -0700 "Infiltration: Six Attempts". Stockholm, 2008 http://rmercado.posterous.com/48361982 http://rmercado.posterous.com/48361982

Infiltration: Six attempts. Stockholm, Sweden. 2008

 

 Craft exhibition curated collectively with Frida Jeppson, Viveka Forsman, Olof Löf, Viktorija Siaulyte and Natasha Llorens at the gallery/store Blås & Knåda. 

 Infiltration is organized by the first year curating Masters students at Konstfack (Write + Interpret + Research + Exhibit, WIRE) at the invitation of Boel Henrikson, curator of blås&knåda’s gallery. WIRE’s motivation is to initiate a dialogue in the space about contemporary craft. Each student conducted research into the history of blås&knåda, its members and their creative work, from which their contribution to Infiltration: Six Attempts have been formulated.

 Infiltration#5: Embodied Craft.

Crafts are usually approached as an “ordinary” experience, in difference to the experience of fine art that is located in the realm of the “extraordinary”, for the special attitude pre-disposed in order to see it.

 Marie Beckmann, Hizako Mizuno, and Kina Bjorklund’s pieces are some of the most successful objects in the blås&knåda store and by displaying them at unreachable heights, the visitor’s desire towards these objects forces the viewer or consumer to develop a physical relationship with them, using the body as a tool to get to the desired pieces just as the body was once also the tool to process them. Activating this small struggle in travelling to the space in order to see the wanted pieces, predisposes the viewer to add an “extraordinary” quality towards experiencing craft.

 How much effort are we disposed to give to everyday objects when they are out of hand? How aware are we of the physiognomic qualities involved in craft as “hand-made communication”? This project attempts to open a different view in experiencing craft in order to see its pieces as “…a reflecting parallel existence of which the everyday object is a part” Louise Mazanti

 

 R.Mercado

 

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Sat, 02 Apr 2011 17:51:00 -0700 Stultifera Navis "La nave de los Locos" Lima, Perú 2007. http://rmercado.posterous.com/collective-laboratory http://rmercado.posterous.com/collective-laboratory

Stultifera Navis  "La nave de los Locos" (the fool's ship)

co-work with Paola Torres

Lima, Perú 2007.

 By morphing into curator/artist, artist/audience, psychiatrist/patient we took this discussion inside the space of the ‘regular person' in order to problematize the subject of madness as constitutive part of personality or ephemeral state that could be "cured".

The spectator is initiated as an observer, but at the end of his way he will interact and participate with our oeuvre, or that of our alter-ego, “The Therapist”. Stultifera Navis is divided in two parts: In Situ and In Vitro. The first part is defined as the “open space” in which the “patients” roam free within the canvas space, contextualized by the observer to serve as experienced vision of the specimen (the artists) but, just as in the lab space, it can only be seen from the outside, since the particularity of this space lays in the fact that is all controlled by the Therapist (the curator of the show), alter-ego/fusion of Paola Torres and Rossana Mercado, who controls all the show with the exception of those small spaces within the frames of the paintings. In the other hand, In Vitro is the completely quantified, qualified, ciphered, experimental environment. 

 

complete text/texto completo

Stultifera_Navis_eng&esp.pdf Download this file

galleryvideos

 

 

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