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ZACATECAS.
The biennial FEMSA realized that she had to leave Monterrey. In its XIII edition, the artistic program has invaded and infected the city of Zacatecas with contemporary art. Public spacess like squares, markets and even the famous hill of La Bufa; temples, theaters and museums have also become the stations of a long artistic circuit enriched with the plastic tradition of the city and the new impulse of contemporary creation.
Under the title We have never been contemporaries, the Biennial presented in the mining town a long-term program that includes the participation of at least a hundred international, national and local artists. It is not just exhibitions, interventions or installations, but a conservation framework incorporating publications and an educational program, with which it wishes to be disseminated around art from the artistic community and the public.
With Zacatecas, the Biennale wanted to renew itself; its organizers reflected on the position it was taking in Monterrey, where some had only seen it as an exhibition: the previous format, for example, consisted of a contest to which the artists sent their work and the totality of the selection made in studio, without correlation with other artists, nor discussions, nor analyzes. Now, instead of being a museographic event or a contest, the novelty is that a conservation program has been prepared over 18 months.
The Biennial has been proposed to "contribute and stimulate" a specific community with the mediation of contemporary art. Zacatecas was ideal: before, it was an investigation of other cities, but it had a high concentration of museums, a cultural wealth and geographically could constitute a circuit that can be traveled to foot. In this format, "the stimulus and the benefit are much greater, because you act with specific locality and stimulating dialogue with the community, "said the director of the Biennale, Gabriela Correa.
Commissions
While the masks collection of the Rafael Coronel Museum, the sound of a group accompanies the visitor; it's about it I will accept, that La Auténtica de Jerez recorded with the artist Mario García Torres. Some of the lyrics come from a poem from another Jerez: Ramón López Velarde; The song that was transmitted a month ago by several local radio stations aims to launch a debate on migration.
In another area of the same museum stands a pink quarry fountain, equal to those that abound in the capital Zacatecas. This one is called Source Quicksilver and it is written by Plinio Ávila, a local artist who turned the jets of water into liquid mercury. The piece poses a critique of Zacatecas' dynamic, but also polluting and abusive mining industry.
Both works are commissioned by the Biennial and are part of the first five platforms which integrate the program of the artistic meeting in its new version: that which concerns the museological collaborations with assemblies, the explorations of works and collections, the dialogues between institutional collections and order of works. But García Torres and Ávila are not the only artists. The deployment includes 23 projects put into service spread over the 13 sites of Zacatecan composing the circuit.
Correa explains to Zacatecas: "We found a rich and vast environment, there are several generations of art, a lot of graphic design, sculpture, painting, contemporary art, installations, but obviously the forums are more focused on plastic arts ". The Biennale also wants this tradition to be taken advantage of: at the Museum of Abstract Art, Manuel Felguérez, for example, the exhibition was inaugurated Infinite geometry, which combines the FEMSA collection with the work of three curators: Verónica Gerber, Felipe Mujica and Christian Camacho.
The second aspect of this biennale concerns interventions in public spaces. Antonio Bravo, who worked on Bufa Hill, was commissioned here; Diego Pérez García, who installed nine sculptures on a vacant lot; Rita Ponce de León, who spoke at the Plazuela del Moral, and the Occupy collective who took part in 22 lamps in the Mercado Jesús González Ortega. It includes a public program that will include a meeting on November 16 and 17, an editorial program and an educational program including theoretical seminars and workshops with curators, historians and academics.
The Biennale seems to have found its way and Willy Kautz, as artistic director, and Daniel Garza Usabiaga as curator took part in the line. "We are already looking for the next location, we can not say it yet, but it's do an investigation of placesSaid Correa.
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