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Cecilia Ordoñez. Alga No.2, 2014. Porcelain mixed with granulated manganese burned in oxidation 1260 degrees C. 13.3 x 9.5 x 9.5 in. Courtesy of the artist.

Cecilia Ordoñez. Ondulante y perforada, 2013. Porcelain mixed with granulated manganese burned in oxidation 1260 degrees C. 8.7 x 14.2 x 13 in. Courtesy of the artist.

Three women artists
Museo Rayo


Roldanillo, Colombia
Breyner Huertas

Cecilia Ordóñez (Pamplona, 1949), Ruby Rumié (Cartagena, 1958), and Nadia Granados (Bogota, 1978) are three female artists invited by Miguel González to participate in a mid-year exhibition series at the Museo Rayo, in Valle del Cauca, Colombia. It is important to note that this exhibition series will be held concurrently with the 34th edition of the Meeting of Women Poets organized by the director of the Museo Rayo, Agueda Pizarro. It is in the context of this event that the institution has sought, as it always does, to showcase visual works by female artists with the purpose of approaching the poetic creation of women from different angles.

Ruby Rumié participates with three projects: Lugar común (Common Place), Hálito divino (Heavenly Breath), and Tejiendo calle (Weaving Street). For her part, Nadia Granados was invited to participate with the "guest work," a piece by an artist shown between the exhibitions to broaden the possible relationships and readings of the shows. Her proposal is Cabaret de La Fulminante (Cabaret of La Fulminante), a live performance that has been shown in several countries like Brazil, Canada, Italy, France, Spain, and Mexico.

"Ceramics," the exhibition by Cecilia Ordóñez, focuses on ceramic works produced during the last two decades of her career. It features a series of sculptures of natural forms that explore the organic textures and rhythms of elements like coral, wood, vegetables, rocks, and fossils, among others, which are suggested by the outlines of the pieces. Ordónez proposes a tension between spiritual and natural elements, as well as the female (human) condition expressed through natural materials like clay. Based on this she produces a tactile exploration of the history of certain structures. What gives corals and rocks their shapes? Ordóñez's sculptures suggest a vision that draws heavily on the sense of touch.

Connected to the body and memory, the three projects by Ruby Rumié address gender issues, social class and mourning. In Lugar común, a piece created in collaboration with Justine Graham, the two artists rely on photographs to bring to light the symbolic differences between domestic workers and their employers in an attempt to equalize the faces of individuals from these two social groups: any signs of luxury, make-up, and accessories that could reveal their social status have been erased. In this manner, the photographs encourage viewers to question hierarchical constructs. In Tejiendo calle, Rumié activates a gesture very similar to the one in Lugar común, but this time she focuses on the palenqueras, the fruit seller women from Cartagena who are depicted by the artist without their colorful iconic dresses. Instead, Rumié portrays them wearing white dresses, without any exotic signs, in order to render images and bodies that look beyond the tourist's snapshot. Hálito divino, on the other hand, is a project focused on memory and mourning. It consists of a series of objects that directly correspond to a liberating ritual: one hundred abused women who have been victims of some type of violence blow their breath into white vases.

Nadia Granados is the youngest artist in the group. She presents a controversial project: Cabaret de La Fulminante. Recent recipient of the National Grant for Mid-Career Artists awarded by the Ministry of Culture of Colombia, Granados has consolidated a career that combines strong political and gender activism with the contemporary art scene, erasing the boundaries between the realms in the process. It is perhaps one of the most radical and experimental proposals presented in the outdoor theater of the Museo Rayo, considering that the performance has been categorized by Granados as Postporno. A video of the performance was originally scheduled to be presented as "guest work" in one of the exhibition areas of the museum, but artist Cecilia Ordóñez refused to share the space with the video and had it turned off. It is a shame because La Fulminante (Granados' alter ego during her performances) could have contributed a little bit of chaos to contrast the ceramics, a little bit of contemporary excitement surrounding the stillness of a proposal whose beauty could have never been threatened by a monitor. 



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