{"id":318548,"date":"2010-03-16T00:00:00","date_gmt":"2010-03-16T04:00:00","guid":{"rendered":"https:\/\/casadecampoliving.com\/aguayos-new-art-exhibit-opens-this-friday-the-19th-of-march\/"},"modified":"2022-10-21T17:54:39","modified_gmt":"2022-10-21T21:54:39","slug":"aguayos-new-art-exhibit-opens-this-friday-the-19th-of-march","status":"publish","type":"post","link":"https:\/\/casadecampoliving.com\/es\/aguayos-new-art-exhibit-opens-this-friday-the-19th-of-march\/","title":{"rendered":"‘AGUAYOS’ new art exhibit opens this Friday the 19th of March"},"content":{"rendered":"\n
\"invitacion3_final5x7out\"<\/figure>\n\n\n\n

<\/p>\n\n\n\n

This Friday the 19th of March the Altos de Chavon art gallery will be celebrating the opening of a new art exhibit \u2013 Aguayos, with an inauguration cocktail, starting at 7.30pm.<\/p>\n\n\n\n\n\n\n

\n
\"invitacion3_final5x7out\"<\/figure>\n<\/div>\n\n\n

The new exhibit is being presented by Bolivian artist Sandi, who specialises in \u2018plastic arts.\u2019  The name of the exhibit is \u2018AGUAYOS, Abstracciones Andinas\u2019 and is a modern twist on traditional Andean textiles. An \u2018aguayo\u2019 is a colourful piece of cloth used in many Andean communities.<\/a>\n<\/a><\/p>\n\n\n\n

It is always impossible to know exactly what to expect from a new art exhibit (part of the thrill of going), however with this exhibit we can be sure that it will be different, colourful and no doubt fascinating. I am personally very intrigued to find out exactly what this exhibit is all about!<\/a><\/p>\n\n\n\n\n

I look forward to seeing you there!<\/strong><\/p><\/blockquote>\n

Here you can read more about the \u2018aguayo\u2019 and the exhibit:
\n(you can read this in Spanish below)<\/span><\/strong><\/p>\n

An aguayo is a rectangular piece of cloth used in traditional communities in the Andes of Ecuador, Peru, Bolivia, Chile and Argentina. The aguayo is most associated with Quechua and Aymara culture but is not exclusive to them. Aguayos typically feature colorful stripes intercalated with rhombuses and other figures with symbolic values. From the time of the Incas to now, one of the most important aspects of the design of an aguayo is that it identifies a particular group, community, or family.<\/p>\n

Artist Statement<\/span><\/strong><\/p>\n

My art is an expression of an inner need to advance, to move forward, to learn through research aof various techniques and styles. This curiosity, however, almost always \u2013 and unconsciously \u2013 ends up going way back to my roots and documents my life and\/or my background. I work in a disciplined manner and some may even think rigidly, I work first and most importantly in the development of a concept, perform various studies and finally traduce them, through different media, into the final pieces. One series of work normally does not look anything like the previous one; yet, the common denominators are present: the use of pure colors and the desperate search of varying art techniques.<\/p>\n

The \u201cAguayo\u201d series started way back in 2007 in concept and was worked through a number of months sporadically until 2009. The idea in this series was to capture an ancestral artisanal piece of work and transpose it to a contemporary expression of art through the use of abstraction. The installation piece is there to document the element from which the series was conceived and, one more time, I ended going back to my roots playing with concepts of color and form where the colors define the feeling of my soul and the forms define the complexity or simplicity of my life at those particular moments.<\/p>\n

Bolivian, born in Oruro, cosmopolitan and generalist \u2013Sandi offers us such conditions from his childhood. He was born twelve thousand feet above the sea, in the Andean highlands, rugged plateau with ridges, mountains, peaks, glaciers, large bodies of water, and salt flats within the domain of gray of fog and the Native American population, the Aymara and Quechua, whose wise hands play indigenous music and produce Andean textiles: Aguayos.<\/p>\n

Sandi arrives to Santo Domingo in mid-2007, after having studied the techniques of drawing and painting, attending various art formation institutions such as The Fine Arts school of La Paz, the workshops of Brian Bomeisler, and worked with various Bolivian artists. The curiosity for knowledge of Dominican art takes him to work with master printmaker Rosa Tavarez, and to share painting experiences with artist Hilario Olivo, and to investigate the work of other notable Dominican painters. He registers several exhibitions during the years 1989-2006, in various cities: New York, La Paz, Oruro, Santa Cruz, Cochabamba and Chicago but it is his latest work in the series \u201cAguayos\u201d that constitutes a consolidation of a self-promised artistic maturity achieved while in the Dominican Republic.<\/p>\n

Spanish translation\/ en Espa\u00f1ol :<\/span><\/strong><\/p>\n

Un Aguayo es una pieza rectangular que se usa en comunidades de varios pa\u00edses andinos. El aguayo est\u00e1 asociado a las culturas Quechua y Aymara pero no es exclusivo a ello. Normalmente trae una serie de rayas intercaladas con rombos, cuadrados u otras figuras y valores simb\u00f3licos. Desde la \u00e9poca de los Incas, uno de los aspectos m\u00e1s importantes de los aguayos es que identifica a un grupo, una comunidad o una familia.<\/p>\n

Palabras del artista acerca de su obra<\/span><\/strong><\/p>\n

Mi arte es una expresi\u00f3n de una necesidad de avanzar, de cambiar, de aprender a trav\u00e9s de la investigaci\u00f3n y experimentaci\u00f3n con diferentes t\u00e9cnicas y diferentes estilos. Sin embargo ese movimiento siempre termina volviendo a mis ra\u00edces y documenta mi vida y mi esencia. Trabajo de una manera disciplinada: una serie a la vez, utilizando una variedad de t\u00e9cnicas y de medios que van desde pasteles hasta el uso de grabado. Lo m\u00e1s importante de mi trabajo es el desarrollo del concepto, la parte t\u00e9cnica sucumbe (aunque a veces se rebela) a las necesidades de ese concepto. Una serie normalmente no se parece a otra pero existen un com\u00fan denominador en mi trabajo: el color y una b\u00fasqueda desesperada de ejecuci\u00f3n t\u00e9cnica.<\/p>\n

La serie Aguayos comenz\u00f3 en 2007 en concepto \u2013 y la producci\u00f3n de una obra: \u201cOpus 0\u201d \u2013 y se trabajo espor\u00e1dicamente hasta 2009. La idea en esta serie fue capturar una pieza artesanal ancestral y traducirla a una expresi\u00f3n de arte contempor\u00e1neo a trav\u00e9s del uso de la abstracci\u00f3n. La pieza de instalaci\u00f3n est\u00e1 ah\u00ed para documentar la esencia de la concepci\u00f3n de la serie. Una vez m\u00e1s, me encontr\u00e9 regresando a mi pasado y a mis ancestros jugando con el color y la forma donde los colores definen el sentimiento de mi alma y las formas definen la complejidad o simplicidad de mi vida en exactamente esos momentos.<\/p>\n

Sandi<\/p>\n

SANDI: ALUSIONES Y CONSAGRACI\u00d3N EN LA PO\u00c9TICA VISUAL<\/span><\/strong><\/p>\n

Boliviano, Orure\u00f1o, cosmopolita y generalista, como se autodefine en el m\u00faltiple activismo existencial, Sandi ofrece tales condiciones desde el troquelamiento de la infancia hasta el crecimiento formativo abierto e indagador. El naci\u00f3 a doce mil pies de altura del mar, en el altiplano andino, robusta meseta con cimas, sierras, picos, altos glaciares, grandes espejos de agua como el Poop\u00f3, y muchos salares entre otros caracteres que incluyen el dominio del tono gris propio de la niebla y una poblaci\u00f3n amerindia, los Aymara y los Quechua, con manos sabias para interpretar la m\u00fasica aut\u00f3ctona y producir textiles (Aguayos).<\/p>\n

Sandi arriba a Santo Domingo a mediados del 2007, cuando ya ha estudiado las t\u00e9cnicas del dibujo y pintura en lugares como La escuela de Bellas Artes de La Paz, los talleres en el estudio de Brian Bomeisler, y trabajo de estudio con varios pintores bolivianos. La necesidad del conocimiento del arte dominicano le llevan al taller de la maestra del grabado Rosa Tav\u00e1rez y a compartir experiencia pict\u00f3rica con Hilario Olivo, e investigar la producci\u00f3n de otros notables pintores dominicanos. En la curricula personal posee registros expositivos, acompa\u00f1ado e individualmente durante los a\u00f1os 1989-2006, en diversas ciudades: Nueva York, La Paz, Oruro, Santa Cruz, Cochabamba y Chicago. Sin embargo, es esta ultima serie: \u201cAguayos\u201d, la que se constituye en un discurso de consolidaci\u00f3n y madurez pict\u00f3rica auto-prometida, deseada y lograda desde la ubicaci\u00f3n residencial en el pa\u00eds dominicano, m\u00e1s distante que cercano del gen\u00e9ticamente suyo.<\/p>\n

Sandi serializa el tema \u201cAguayos\u201d en un discurso compuesto de veinticinco textos elaborados sobre pastel al \u00f3leo y acr\u00edlica sobre tela; y pese a la hermandad serial extra\u00edda de una referencia base, resultan irrepetibles en las visiones compositivas y met\u00e1foras que nutren los dise\u00f1os y signos de los telares conjugados como abstracciones. Estas las sobrepasan en el imaginario y las referencias de un tema como sujeto de antropolog\u00eda activa como cultura. En este sentido el avistamiento de m\u00e1s un acento ling\u00fc\u00edstico, barroco, de geometr\u00eda sensible, metaf\u00edsico y hasta m\u00e1gico. Insistimos en se\u00f1alar la desemejanza en la unidad, porque cada pintura de la serie es un texto en si mismo que plantea diversas alucinaciones interpretativas desde cada mirada personal.<\/p>\n

Es dif\u00edcil en un discurso tan abierto en sus formas compositivas definir todas las obras, una por una. Es imposible determinar d\u00f3nde comienza lo puramente acaico, la referencia sacra, la copulaci\u00f3n, el paisaje en si mismo, lo textil y otras analog\u00edas de un discurso tambi\u00e9n elevado, por dem\u00e1s contempor\u00e1neo en su planteo de la universalidad andina, boliviana y del misterio. En textos que parecen introductorios, la presencia de un c\u00edrculo blanco en la espesura del negro, as\u00ed como hebras fantasmales en r\u00edtmico movimiento de elipsis espacial, apuntala una sobrenaturaleza m\u00edtica y sideral. La reiteraci\u00f3n de puntos de luz blanca en casi todos los textos parece traducir la irradiaci\u00f3n natural del altiplano.<\/p>\n

Si el discurso de Sandi es de naturaleza instintiva a partir de las fuentes, es tambi\u00e9n reflexi\u00f3n en el manejo crom\u00e1tico, abundante, acompasado y en equilibrio compositivo. La sabidur\u00eda de la aplicaci\u00f3n del color contrastando, apuntalando y definiendo a\u00e9reas espaciales y contenido tem\u00e1tico alusivos, nos permiten apreciar a un oficiante maduro; a un conjugador que se suma a la resistencia de los artistas que ineludiblemente siguen siendo voceros identitarios de sus ra\u00edces, que elevan con un fuerte tono consagratorio.<\/p>\n<\/a>\n\n\n\n

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