As if it were an appendix of the mothership, Carlos Fernández docks at Despacio a habitat that encapsulates not only his work, but also himself and even a patch of life where each one of us might find ourselves.
COORDINATES: 9°56′00″N 84°05′00″
OTHER MARKERS: Avenida Central, Calle 11, San José, Costa Rica
RESOURCES: canvas, plants, seeds (I), Carlos’s hat (II), soil and chicha (III)
ACTIVATIONS: pedagogical workshops (IV), funky bar (V), seed exchange (VI), and others, still unknown.
This is a real person’s temporary and imaginary work camp. At this station, a series of live elements coexist; they are not the final products but parts of a simmering process. It is also an installation that sustains itself through collective participation and collaboration.
While participating in this experience, the concept of excess provides clues and serves as a common thread: in abundance lies beauty. The plants’ greenness blends with its smells and paintings function as registers of past lessons and future explanations. It is imperative to allow oneself to be enchanted by the layers that coat and recoat every corner—superimposed, hidden information, and the possibility of germination in every square centimeter of the space.
We discover that we can access a fragment of a practice that has long represented not the intermingling of one or two disciplines but rather Carlos’s life itself: his everyday to-and-fro and his passion for agriculture, art, botany, and education. The production of this work represents the search to redefine these practices as well as an act of appropriation.
This station, set at the center of San José, will offer moments for learning, contemplation, and dance. Always in the spirit of exchange—of knowledge and experiences, of seeds and the multiple possibilities between practices that will here appear to overflow and interconnect. There is a subtle but continuous invitation of integration; we are invited to engage in the (self)care inherent to the relationship that we can create with the soil and harvest.
Suddenly, art is life understood through the idea of purpose: of working the soil as if it were a canvas; of generating spaces to share or exhibit beyond the traditional ones. Even of needing to collect and exchange seeds as a reflex of turning the gaze toward the beginning, a gesture that seeks to perpetuate life.
Thoughts by Paula Piedra. Translated by Paula Kupfer.
Carlos Fernández's solo show at Despacio in San José, Costa Rica opens March 23th and runs through April 23th, 2017. (Facebook Event)
The indoor garden that is part of the exhibition will remain throughout 2017 and serve as Despacio’s new central archive.
Art history rarely moves in a straight line. Now more than ever, when it comes to a collective notion of Latin American art, there are as many ways to approach it as there are to traversing its nineteen countries and territories. Steering clear of a generalized survey of the region, we choose a more personal path by compiling works from Latin American artists that inspired us throughout our journey over the last decade, bringing to the fore the works, artists, and conversations that we couldn’t possibly forget.
First Day of Good Weather takes as its inspiration and starting point conversations that happened in and around Despacio. While it is true that personal dialogues can result in a filtered perception of reality—the filters as well as the perception being both highly subjective—that same subjectivity seems to be an essential ingredient for a truly independent art space. There are no set guidelines, just a vision that is focused through the discourse of like-minded peers.
The exhibition features artworks by sixteen artists from Central America, the majority of whom have never before shown their work in Germany. Also included are thirteen more Latin American artists who have been at the center of extensive dialogues detailing their profound influence on entire generations of artists, from Mexico’s Rio Grande to Argentina’s Tierra del Fuego.
Spanning multiple genres and ranging in tone from political to humorous, the works transcend the immediate allure of the exotic to reveal the contagious spirit of curiosity. The artistic propositions are often balancing acts between everyday life and what it means to be an artist in Latin American society—a society which has a long history of wrestling with local and global political crises, colonial capitalism, abuse of power, and the struggles of subsisting day to day.
Art is critical thinking—building an awareness of the inner workings of the mind. But art is also making sense of the situations we find ourselves in. It helps us to accept that there is not such a thing as a single current reality, but rather a myriad of perceptions that together comprise our collective reality. The sum of all of these works is, therefore, much more like a fluid conceptualization of Latin America and its art than it is a static definition.
First Day of Good Weather takes visitors back to where everything began: the conversations with artists that sent our thoughts flying into space to return in new and unusual configurations that would culminate in more than fifty exhibitions and projects over the last decade. The exhibition is a voyage of discovery through the artistic territory of Latin America, far off the beaten path of exotic fantasies, dealing instead with specific experiences and contexts that exist in constant states of evolution. We wait, ever watchful, after each rainy season for that first day of good weather to begin our explorations all over again.
Thoughts by Sandino Scheidegger
The group exhibition opens on January 13th and runs through March 11th, 2017 at Sies + Höke in Düsseldorf, Germany.
Participating Artists: Jennifer Allora & Guillermo Calzadilla, Alejandro Almanza Pereda, Iván Argote, Sol Calero, Javier Calvo, Luis Camnitzer, Benvenuto Chavajay, Donna Conlon & Jonathan Harker, Alejandro de la Guerra, Melissa Guevara, Federico Herrero, Walterio Iraheta, Alfredo Jaar, Regina José Galindo, Aníbal López, Teresa Margolles, Adrian Melis, Ronald Morán, Rivane Neuenschwander, Yoshua Okón, Liliana Porter, Naufus Ramírez-Figueroa, Abigail Reyes, Crack Rodríguez, Gabriel Rodríguez, Tercerunquinto, Adán Vallecillo, and Guillermo Vargas Habacuc.
Photo credits and copyright: Images of the art works courtesy of the artist and their respective galleries. Installation views by Achim Kukulies, Düsseldorf.