Geopolíticas del cuerpo
Geopolitics of the body.
Background
Reference Lines
2009
For this project, I got information of the violence rates in El Salvador and how violence turns into a normal part of life.
I looked for information at the Forensic Medicine Institute and at the Medicine Department in the National University of El Salvador, where a doctor made me the lines they usually do to the dead bodies. After that, a professional tatooer "re-pass" those lines; he made me the "Jakob line" (that is similar to a "Y") or "in cross"
A completion date of the death toll from violence in El Salvador reached 12 per day, a large percentage were young.
A picture of this project is currently shown at the Marte Museum in the show "Donde Hubo Fuego" curated by Simon Vega and also at Virgin Studios El Salvador
Reference Lines
2009
For this project, I got information of the violence rates in El Salvador and how violence turns into a normal part of life.
I looked for information at the Forensic Medicine Institute and at the Medicine Department in the National University of El Salvador, where a doctor made me the lines they usually do to the dead bodies. After that, a professional tatooer "re-pass" those lines; he made me the "Jakob line" (that is similar to a "Y") or "in cross"
A completion date of the death toll from violence in El Salvador reached 12 per day, a large percentage were young.
A picture of this project is currently shown at the Marte Museum in the show "Donde Hubo Fuego" curated by Simon Vega and also at Virgin Studios El Salvador
Antecedente
Líneas de Referencia
2009
Para este proyecto tomé información sobre los niveles de violencia en El Salvador como parte de la vida normal de las personas.
Busqué información del Instituto de Medicina Legal así como de la Universidad Nacional de El Salvador, en donde un médico me dibujó el trazo que hacen a los cadáveres. Después un tatuador profesional repasó los trazos. El dibujo es conocido como “Jacob” en “Y” o en “cruz”
A la fecha de realización el número de muertes diarias por violencia en El Salvador era de 12 personas.
Una fotografía de este proyecto se exhibe actualmente en el Museo Marte de El Salvador en la exposición "Donde Hubo Fuego" curada por Simón Vega o en Virgin Studios El Salvador
Líneas de Referencia
2009
Para este proyecto tomé información sobre los niveles de violencia en El Salvador como parte de la vida normal de las personas.
Busqué información del Instituto de Medicina Legal así como de la Universidad Nacional de El Salvador, en donde un médico me dibujó el trazo que hacen a los cadáveres. Después un tatuador profesional repasó los trazos. El dibujo es conocido como “Jacob” en “Y” o en “cruz”
A la fecha de realización el número de muertes diarias por violencia en El Salvador era de 12 personas.
Una fotografía de este proyecto se exhibe actualmente en el Museo Marte de El Salvador en la exposición "Donde Hubo Fuego" curada por Simón Vega o en Virgin Studios El Salvador
Statement
Mauricio Esquivel
For the last 5 years I have been managing a project where I was initially tutoring visual artists who were starting University. Gradually I began curating to show our results.
Tattooing is an extension of my artistic practice. Over the last three years Virgin Studio open a place for me to grow as professional, with the tattoos we get some found to be invested in the production of visual arts. That is how Virgin Studio transformed into the operation that exists today.
El Salvador (my place of origin), is a country with very particular stigmas in relation to tattoos, for decades tattoos have been directly connected to menace and extreme gang violence. Virgin Studio has worked to change that impression by focusing on small tattoos that any person interested in tattoos can feel comfortable with. A new generation of young people interested in tattooing are defining and giving new meaning to the popular medium.
The curatorial section of Virgin Studio is under my charge and now I am developing a project in NY in which the body is used as a room in a museum, gallery or alternative space. I am currently involved in a curatorship where I select the work of artists whose proposals are compelling and are then transferred to the body while preserving the essential elements of the original idea.
The work still belongs to the artist, the person who chooses to use their body as the canvas becomes the collector and in this case, the actual gallery or Museum. I serve as the intermediary that facilitates a channel of communication between the two.
My most recent work involved the transfer of the performatic work “Volver” by the artist Lupe Maravilla, known as Irving Morazán.
Lupe is a Salvadoran migrant and his work refers to the cultural syncretism where iconic elements of indigenous cultures are mixed with our current culture of mass consumption. The images created by the artist as well as his characters show the acceptance of hybridization as a phenomenon of natural transformation in which we all become part of the city where experiences with other cultures generate new experiences.
Volver! Volver! Performance, Bronx Museum, 2017
Return! Return! consisted of performing and choreographing twelve performers during a fictionalized ritual. The performance was influenced by the enduring time of uncertainty that immigrant families face during the process of deportation. Volver! Volver! translates to Return! Return!, the title of a famous Latin American love song reinterpreted through performance about missing loved ones that are separated by either side of a border.
Mauricio Esquivel
For the last 5 years I have been managing a project where I was initially tutoring visual artists who were starting University. Gradually I began curating to show our results.
Tattooing is an extension of my artistic practice. Over the last three years Virgin Studio open a place for me to grow as professional, with the tattoos we get some found to be invested in the production of visual arts. That is how Virgin Studio transformed into the operation that exists today.
El Salvador (my place of origin), is a country with very particular stigmas in relation to tattoos, for decades tattoos have been directly connected to menace and extreme gang violence. Virgin Studio has worked to change that impression by focusing on small tattoos that any person interested in tattoos can feel comfortable with. A new generation of young people interested in tattooing are defining and giving new meaning to the popular medium.
The curatorial section of Virgin Studio is under my charge and now I am developing a project in NY in which the body is used as a room in a museum, gallery or alternative space. I am currently involved in a curatorship where I select the work of artists whose proposals are compelling and are then transferred to the body while preserving the essential elements of the original idea.
The work still belongs to the artist, the person who chooses to use their body as the canvas becomes the collector and in this case, the actual gallery or Museum. I serve as the intermediary that facilitates a channel of communication between the two.
My most recent work involved the transfer of the performatic work “Volver” by the artist Lupe Maravilla, known as Irving Morazán.
Lupe is a Salvadoran migrant and his work refers to the cultural syncretism where iconic elements of indigenous cultures are mixed with our current culture of mass consumption. The images created by the artist as well as his characters show the acceptance of hybridization as a phenomenon of natural transformation in which we all become part of the city where experiences with other cultures generate new experiences.
Volver! Volver! Performance, Bronx Museum, 2017
Return! Return! consisted of performing and choreographing twelve performers during a fictionalized ritual. The performance was influenced by the enduring time of uncertainty that immigrant families face during the process of deportation. Volver! Volver! translates to Return! Return!, the title of a famous Latin American love song reinterpreted through performance about missing loved ones that are separated by either side of a border.
Virgin Studios
Statement
It arises as a question about the uses of the tattoo in the current culture, it is undeniable that in the last years tattoos has won many territories, being the fashion one of most popular. There is now an infinity of styles, and technologies that push the boundaries stimulating contemporary artists to use it as an extension of their practices or as a tool for the communication of their ideas.
Since its transition from “IN SITU” to “Virgin Studios” in 2015, we have dedicated to curate, produce and promoting projects that include different visual actors (designers, illustrators and visual artists mostly) looking for new ways of doing curatorship, collecting art and promotion in non conventional spaces using the body as an extension of what would be a gallery or a museum.
In the process we have found possibilities for collaborative curation as well, displacement of ideas in different contexts like New York, Mexico, El Salvador and Colombia for example.
In 2015 we carried out the project "Illustrations and Tattoos".
La Casa Tomada, El Salvador
In 2018 under the curatorship of Óscar Moisés Díaz "Cura Collective"
Knockdown Center, New York
Soon we will present the talk "Body Geopolitics" Central American Art at the Hemispheric Institute in New York City.
At the same time we have curated and produced during the last years exhibitions that can be consulted here
Virgin Studios
Motivación
Se plantea como un cuestionamiento al uso del tatuaje en la cultura actual, es innegable que en los últimos años el tatuaje ha ganado muchos territorios, siendo la moda uno de ellos. Existen ahora infinidad de estilos, mezclas de estilos y tecnologías que han permitido no solamente popularizar el tatuaje sino además que diferentes artistas contemporáneos lo utilicen como una extensión de sus prácticas o como herramienta para la comunicación de sus ideas.
Desde su transición de IN SITU a Virgin Studios en 2015 nos hemos dedicado a la curaduría, producción y difusión de proyectos que incluyan a diferentes actores de las artes visuales (diseñadores, ilustradores y artistas visuales) con la intención de analizar nuevas formas de hacer curaduría, coleccionar arte y difundir arte en espacios poco convencionales como lo es en estos casos el cuerpo como una posible extensión de lo que sería una galería o un museo.
En el proceso hemos encontrado posibilidades de curaduría colaborativa así como el desplazamiento de ideas en distintos contextos: Nueva York, México, El Salvador y Colombia por ejemplo.
En 2015 realizamos el proyecto “Ilustraciones y Tatuajes”
La Casa Tomada, El Salvador
En 2018 bajo la curaduría de Óscar Moisés Díaz “Cura Collected”
Knockdown Center, Nueva York
Próximamente presentaremos la platica “Geopolíticas del Cuerpo” Arte Centroamericano en el Hemispheric Institute en la ciudad de Nueva York
Paralelamente hemos curado y producido durante los últimos años exhibiciones que pueden ser consultadas en el aquí.
Statement
It arises as a question about the uses of the tattoo in the current culture, it is undeniable that in the last years tattoos has won many territories, being the fashion one of most popular. There is now an infinity of styles, and technologies that push the boundaries stimulating contemporary artists to use it as an extension of their practices or as a tool for the communication of their ideas.
Since its transition from “IN SITU” to “Virgin Studios” in 2015, we have dedicated to curate, produce and promoting projects that include different visual actors (designers, illustrators and visual artists mostly) looking for new ways of doing curatorship, collecting art and promotion in non conventional spaces using the body as an extension of what would be a gallery or a museum.
In the process we have found possibilities for collaborative curation as well, displacement of ideas in different contexts like New York, Mexico, El Salvador and Colombia for example.
In 2015 we carried out the project "Illustrations and Tattoos".
La Casa Tomada, El Salvador
In 2018 under the curatorship of Óscar Moisés Díaz "Cura Collective"
Knockdown Center, New York
Soon we will present the talk "Body Geopolitics" Central American Art at the Hemispheric Institute in New York City.
At the same time we have curated and produced during the last years exhibitions that can be consulted here
Virgin Studios
Motivación
Se plantea como un cuestionamiento al uso del tatuaje en la cultura actual, es innegable que en los últimos años el tatuaje ha ganado muchos territorios, siendo la moda uno de ellos. Existen ahora infinidad de estilos, mezclas de estilos y tecnologías que han permitido no solamente popularizar el tatuaje sino además que diferentes artistas contemporáneos lo utilicen como una extensión de sus prácticas o como herramienta para la comunicación de sus ideas.
Desde su transición de IN SITU a Virgin Studios en 2015 nos hemos dedicado a la curaduría, producción y difusión de proyectos que incluyan a diferentes actores de las artes visuales (diseñadores, ilustradores y artistas visuales) con la intención de analizar nuevas formas de hacer curaduría, coleccionar arte y difundir arte en espacios poco convencionales como lo es en estos casos el cuerpo como una posible extensión de lo que sería una galería o un museo.
En el proceso hemos encontrado posibilidades de curaduría colaborativa así como el desplazamiento de ideas en distintos contextos: Nueva York, México, El Salvador y Colombia por ejemplo.
En 2015 realizamos el proyecto “Ilustraciones y Tatuajes”
La Casa Tomada, El Salvador
En 2018 bajo la curaduría de Óscar Moisés Díaz “Cura Collected”
Knockdown Center, Nueva York
Próximamente presentaremos la platica “Geopolíticas del Cuerpo” Arte Centroamericano en el Hemispheric Institute en la ciudad de Nueva York
Paralelamente hemos curado y producido durante los últimos años exhibiciones que pueden ser consultadas en el aquí.
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Aunque seas una frontera te prometo no detenerme
Eder Castillo, La Carnicería. 2011, “Objeto de Trabajo- El Precio justo
Area de Traslado
Transfer area
Angel Poyón
This project, called the Transfer Area, involves a reflective look at the ironies of the configuration of this new rural and community landscape, where the demand for technological varieties -apparently innocent appliances, appliances with electronic soul- increases according to economic positions, representations collective and new and unexpected narcissisms.
This is a series of simple drawings that try to provide some reflections of this complex process of adopting models of modernity, alien only in appearance, and its effect on the construction of a new memory about my everyday environment.
Transfer area
Angel Poyón
This project, called the Transfer Area, involves a reflective look at the ironies of the configuration of this new rural and community landscape, where the demand for technological varieties -apparently innocent appliances, appliances with electronic soul- increases according to economic positions, representations collective and new and unexpected narcissisms.
This is a series of simple drawings that try to provide some reflections of this complex process of adopting models of modernity, alien only in appearance, and its effect on the construction of a new memory about my everyday environment.
Artists work to come:
Veronica Vides • El Salvador- Argentina•
Crack RodrÌguez •El Salvador•
Simon Vega •El Salvador•
Eder Castillo • México•
Ernesto Bautista •El Salvador• PDF Statement download
Eduardo Chang • El Salvador-Costa Rica
Angel Poyón • Guatemala
@i_go_by_lupe
@vides_veronica
@crack_rodriguez
@simonvegaestudio
@edercastilloj
@eduardochang
@angelpoyon
Veronica Vides • El Salvador- Argentina•
Crack RodrÌguez •El Salvador•
Simon Vega •El Salvador•
Eder Castillo • México•
Ernesto Bautista •El Salvador• PDF Statement download
Eduardo Chang • El Salvador-Costa Rica
Angel Poyón • Guatemala
@i_go_by_lupe
@vides_veronica
@crack_rodriguez
@simonvegaestudio
@edercastilloj
@eduardochang
@angelpoyon