The Universidad Finis Terrae art collective congregates at the Galería Artespacio to present the best works of its rising student artists. Set within two different atmospheres, these art exhibits use different materials and techniques to depict our reality.
Enrique Morandé, no title
While Carolina Navarro’s “Arroyo de pelos” (Row of hair) seems to be a fascinating artistic intervention, it faces one big problem: It was set in Mexico City. Several gigantic balls of hair on De La Fontecilla street are accompanied by the sounds of a simulated waterfall coming from different speakers. Citizens living in the surroundings began to positively react to the changes on the street, thus forgetting its ill-famed history.
Despite its promising features, none of these hair balls are actually inside the gallery, making the work itself shallow in the eyes of the viewer. Even with the explanatory commentaries and a couple of photos taken from the installment, it becomes lifeless in a gallery.
Maite Zabala "No me mirarás, más que desde lo profundo"
On the second floor, the exposition Territorios de Papel ("Territories on Paper") carries a collection of different ink drawings, photos and photomontages. All these objects are plain, two-dimensional designs dealing either with abstract ideas or concepts.
The untitled drawing of Enrique Morande is a prime example of how to create pure movement on plain paper. By repeating the sketch of a man using different expressions, shades and contortions on a canvas, the work naturally evokes the sensation of watching a man dancing rhythmically in infinite loops.
Valentina Ovalle’s unnamed photo portrays a boy standing in the middle of a garden and staring down at his feet. It looks just like a Coldplay album, producing an effect that might override the work's sense of originality.
However, after exploring it in detail I was left in doubt about what the work itself was: Is what's behind the boy really part of the photo, is the boy actually standing in front of a painting, or is it all a montage? Once these details are carefully observed and brought to light, Ovalle’s art, then, shines with originality.
The gallery's highlight, Gabriel del Favero’s “Andes Empire Impacto de Dios” (Andes empire impact of God) is reminiscent of images from Mad Max-style apocalyptic movies of the '80s: The Andes mountains surrounded in darkness amidst the burning flames of a raging volcano. Fans of rock n' roll, Satan and other apocalypse-related themes should enjoy this.
Colectiva Finis Terrae
Closes March 8, 2009
Alonso de Córdova 2600 (at Francisco de Aguirre)
Monday to Friday, 10 am to 8 pm
Saturday, 11 am to 2 pm