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THE CLEAR AND THE INDISTINCT SERIES
From the differentiation between the Renaissance (absolute clarity) and the Baroque (relative clarity), Heinrich Wölfflin proposes in his book, Fundamental concepts for the history of art, that the Renaissance with its notions of perspective, order and linearity shows, and the Baroque, with its distraction movement and sensuality, hidden. The title of the essay contained in this book is so suggestive that it can propose new points of observation in an increasingly complex field of interaction, where image and history are remnants that can be constantly adulterated or interchangeable.
This series is a revision of these precepts about representation and its contents. The painting from its references and already exhausted background can simply be the record of “anything”. The models can be many, from a museum room, to a work table, also a piece of trash or the top of a skull, all of which, when joined and classified, are simple staging’s, without forgetting that objects and spaces represented can hide or show cultural and historical leftovers.
PLINIO VILLAGRAN (1979)
Born in Guatemala. Lives and works in Mexico.
Studied Architecture and Bachelor of Arts at the University of San Carlos in Guatemala. Plinio earned a scholarship in engraving at the School of Fine Arts in Paris on 2003, and in “La Esmeralda” the school of Painting, Sculpture and Engraving in Mexico City on 2006. Later on, in 2009 he earned another scholarship at the residency program for Latin American artists in Mexico through a national Fund for Culture and art FONCA. In 2014 he went to a Residency Program on Specific Arts and Theatre Institude-MeetFactory in Prague, Czech Republic. In 2015 to a program to stimulate the creation of artistic development of Oaxaca, PECDA, SECULTA. His last residence was in 2018 in Matienschön Hall, Cultural Club Matienzo in Buenos Aires, Argentina.
Villagran has exhibited in Guatemala, Mexico, U.S.A., Argentina and Central America; including: 2018, E-II-3 Sala Matienschön, Buenos Aires, Argentina; 2016, The clear and the indistinct Quetzalli Gallery, Oaxaca; Microhistory, Manuel Álvarez Bravo Photographic Center, CFMAB Oaxaca; 2015, Distopía, ERRE space, Guatemala City; 2014, First festival of Video Art, Patio de los Heros Madrid, Spain. Metamorphosis, Fifties Gallery, Mexico City; 2013, Opciones para vivir Mejor, (collective) Art Museum of El Salvador MARTE; 2013 8th. Central American Biennial in Panama City; Cromofagia, (collective) Sol del Rio Gallery, Guatemala City; 2012 Intro Natura (solo) Medellin Gallery 174, Mexico City; 2010 Gráfica del Sur (collective) Forth Contemporary Gallery, Oaxaca, Mexico; 2009 II Iberoamerican Art show, Cultural Center of Spain in Mexico; 2009 Mirando al Sur by Central America, Spain and Mexico, Cultural Center of Spain in Guatemala; 2009 Caribbean Biennial (collective); 2008 Después de Gutenberg (collective), among others.
Most of his important awards are: First Prize, Latin Rotary Art Show, 2004; First Prize, 1st. National Hall of engraving, 2005; Silver Glyph, XV Biennial Art Paiz, 2006; Third place of 4th. Biennial of Latin American graphic, Buenos Aires, Argentina. Plinio is co-founder of “La Torana” collective group and Taller Experimental de Gráfica TEGG in Guatemala. He is founder-director of TRANSVERSO contemporary art in Oaxaca, Mexico, has taught workshops for contemporary art in Guatemala and Oaxaca, Mexico and performed in various curatorial projects. His works are in collections in Guatemala, Mexico, Argentina, Costa Rica and the Museum of Latin American Art MOLAA and Long Beach California, USA. Villagran Lives and works in Oaxaca, Mexico.
Aboard the concept of the body from different reflection parameters but mainly from registration as “geography” and from the symptoms of violence understood as a (historical, social and political) that there is certainty from the dichotomy myth-right and therefore he has always drawn. The aftermath of that certainty becomes possibilities for the study of their existence as a sign, trace or traces for a critical reading.
From various media such as graphics, video, painting and installation he created hypothetical remains from visual references from the Internet or documents from books of medical practice or forensic. Similarly, the graph plays an important role in generating scripts and data to constantly refer to the classification or registration for a reworking from the file.
Plinio’s biggest influences are: Marlene Dumas, Kiki Smith, Francis Alys and The Atlas Group. Like them, he seeks a stay on the ongoing process, taking advantage of the possibilities of “error” to achieve a classification of findings and studies like a laboratory as a forensic or anthropological classification.
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