Portal de Murcia
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The Minister of Culture and Tourism, Pedro Alberto Cruz, today 'Francesca Woodman.
Retrospective 'exhibition that will remain in the area of Visual Arts from tomorrow until May 17.
Cruz was joined by Marco Pierini, curator of the exhibition with Isabel Tejeda.
Conducted in co-production with SMS Contemporanea in Siena and in collaboration with the Estate of Francesca Woodman, the show features over a hundred photographs with his video production.
Woodman's work adds a file of 800 photos taken since the early seventies until 1981, of which only about 120 have been shown in exhibitions.
'Francesca Woodman.
Retrospective 'rescues a dozen unpublished photos, along with the inclusion of their works in video, is one of the most symbolic of the path of the artist.
On the occasion of the exhibition will publish a fully illustrated catalog that includes essays by Marco Pierini, curator of the retrospective, and critics and theorists Mieke Bal, Rosalind Kraus and Fernando Castro Flórez.
Francesca Woodman
Daughter and sister of artists, Francesca Woodman conducted its first in photography at the tender age of thirteen, seventeen, entering the Rhode Island School of Design (Providence), where he received the teaching of modern photography masters such as Aaron Siskind.
Autobiographical tagging, photos show the body of the artist or women close to her gloomy scenarios, rooms that portrays the loneliness, neglect and the passage of time.
His work was not intended to produce a spectacle but intimacy, expressing anxiety, fear and distress, investigating in the absence of the body.
All his work shows mimic anxiety, to disappear and get lost in scenes full of loneliness while surrounded by an aura shine: the light of dusk, farewell, for what ends.
In most of his photographs, is converted in the shade, covering with wallpaper on the wall, dirty mud, hiding her face, disguised as part of the furniture, blurry and unfocused.
Sensitive images in which the use of motives and resources are often drawn from the history of art, and particularly of modern photographic tradition, are shifted its meaning through the disturbing intervention of the body of the artist and his relationship with the space that and surrounding objects as fetishes.
Often the subject of his photographs at once, subject "behind" the camera, Woodman uses strategies that distance from other artists who emerged in the seventies, like Hannah Wilke, Eleanor Antin and Ana Mendieta, for which Photo functioned as the documentary record of their actions.
If your employer may also be an interest in the process and an exploration of identity and subjectivity with a performative component attached to the seriality and repetition, Woodman carried out entirely planned scenes for the camera, well aware of the specificities of the medium.
Something that, according to one of its leading scholars, Chris Townsend, reveals a deliberate critical effort to photography and its formal conditions comparable to that performed by artists Gordon Matta-Clark with the architecture or Richard Serra sculpture.
The untimely death of Francesca Woodman at 22 years of age a career cut short a brief but extraordinary intensity.
In 1986 he organized the first retrospective exhibition after his death, the date from which have continued to place new signs around particular aspects of work that has been claimed both by critics such as Rosalind Krauss and Benjamin Buchloh and by artists of later generations .
Source: CARM
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