Adorado
Year 2022
Technique Mix Media.
Dimension Variable
Exposition Apr 2nd – Dic 17th 2022
Museo de Arte Universidad de los Andes. Santiago, Chile.
Curator: Marisol Richter
Concept work
As part of the celebration of the 10th anniversary of the Museum of Arts, Los Andes University invited the visual artist Maite Izquierdo to create an installation especially for this heritage space. The result is an exhibition that gives the museum a new look, a perception from other aesthetic and visual sensitivities, that illuminates and manages to exalt the objects in its permanent collection (Marisol Richter, curator of the Museum of Arts).
Maite’s proposal. Gold is scarce and that is why it has been falsified in so many ways. This installation takes hold of the most sensual gold available. It was chosen to represent current times. Latex fabric characterizes industry and technology. It is the material chosen to symbolize the spiritual. It is expansive, synthetic, fashionable matter; or we could also say that it is typical of bad taste, since it is unnatural and not ecological. Due to its brightness it appears to be luxurious and is simply pure precariousness. I only know that it is simply the gold that I can obtain today, and for that reason, I take charge of its materiality to represent and interrogate.
Where is then the true spirituality? Where is it or how do we get to it? Is it only achieved through imitation, fiction or what is already given in our culture? Could it be this the only way to touch the divine? Without clear answers, I believe that it is necessary to define a path to our interior, try the search and from there be attentive to the flashes of true light. Perhaps this way we will understand that the process is everything.
Curator: Marisol Richter
Video art Adorado (Adored)
Adorado presents people as living elements within the fabric of community and the reconciliation with our own humanity. It represents the body in pursuit of a tangible spirituality, from corporeality and tactile materiality as a conduit to one’s interior.
It seeks to present the sacred side of earthliness as flashes of light that appear without being searched for amidst uncertainty. These are apparitions, epiphanies, which upon being threaded together lead to an open and unclear path, shifting like the water’s surface.
Flashes amidst the drought. Beams of light seem to bounce, the body in the dirt grows tired, the body in the water finds a passageway, sinking into the darkness to transform itself.
