Nuria Fuster
NOT ME!
March 31 –May 18, 2018
Louis 21
Gremi de Ferrers 25
Polígono Son Castelló
07009 Palma
Balearic Islands, Spain
Gremi de Ferrers 25
Polígono Son Castelló
07009 Palma
Balearic Islands, Spain
Elements in dialogue
A reflection on NOT-ME! of Nuria Fuster.
The
materials contained in some everyday objects and their peculiar characteristics
have become an amazing laboratory for the field work of visual artist Nuria
Fuster. But I could also affirm that the particularity that these forms have,
in themselves, has anchored her to the social and political context of our
society; and it is mainly from this perspective that she articulates her ideas.
materials contained in some everyday objects and their peculiar characteristics
have become an amazing laboratory for the field work of visual artist Nuria
Fuster. But I could also affirm that the particularity that these forms have,
in themselves, has anchored her to the social and political context of our
society; and it is mainly from this perspective that she articulates her ideas.
Through
some of the objects she has produced, her body has undoubtedly been intercepted
by the nature of industrial reproduction and some aesthetic landmarks
surrounding emblematic artistic reflections. It also imposes a practice that
observes, schematically, how she has interpreted these industrialized panoramas
and all that they make visible when we are faced, in this case, with an
expository proposal. That is why, as soon as I investigate and review part of
the archives that made up this exhibition, I dare to write that we could be in
front of a synopsis that establishes new readings about the objects and
materials that expand unusual atmospheres from their lattice. These spaces are
increasingly studied, but they have always appeared as a challenge to the
current vision with which the international contemporary art scene is
operating.
some of the objects she has produced, her body has undoubtedly been intercepted
by the nature of industrial reproduction and some aesthetic landmarks
surrounding emblematic artistic reflections. It also imposes a practice that
observes, schematically, how she has interpreted these industrialized panoramas
and all that they make visible when we are faced, in this case, with an
expository proposal. That is why, as soon as I investigate and review part of
the archives that made up this exhibition, I dare to write that we could be in
front of a synopsis that establishes new readings about the objects and
materials that expand unusual atmospheres from their lattice. These spaces are
increasingly studied, but they have always appeared as a challenge to the
current vision with which the international contemporary art scene is
operating.
In
the face of this preamble, the artist’s impulse has not only annexed a couple
of socio-political processes that have exposed her physical condition in
constant wandering, but also invites us to speculate on the infrastructures
that transmute time in the face of the environment that surrounds our context.
It is for this reason that beyond imposing an understanding on the notion of
object, what happens here is that this artist tries to open an introspection
where what he exhibits can be retouched under the optics of a meticulous
scientific work that was discovered before the visual reading of those limits
that have built the nooks and crannies of industrial exploitation.
the face of this preamble, the artist’s impulse has not only annexed a couple
of socio-political processes that have exposed her physical condition in
constant wandering, but also invites us to speculate on the infrastructures
that transmute time in the face of the environment that surrounds our context.
It is for this reason that beyond imposing an understanding on the notion of
object, what happens here is that this artist tries to open an introspection
where what he exhibits can be retouched under the optics of a meticulous
scientific work that was discovered before the visual reading of those limits
that have built the nooks and crannies of industrial exploitation.
Moreover,
we can add to Fuster’s exhibition proposal, under the title Not-me! which
positions the warp of objects, whether plastic or organic, that appear in vital
processes and that alter the biological and chemical abstractions that emerge
from the earth, and that finally combine with the cosmos. Each image processed,
angled and altered by this artist leads us to meditate that the landscapes she
designs are externalized in contexts where the individual marks the ability of
the materials. In this sense, this location has succumbed to other figures that
appear and disappear in these components as a result of a lighting approach
that resonates with the idea of space.
we can add to Fuster’s exhibition proposal, under the title Not-me! which
positions the warp of objects, whether plastic or organic, that appear in vital
processes and that alter the biological and chemical abstractions that emerge
from the earth, and that finally combine with the cosmos. Each image processed,
angled and altered by this artist leads us to meditate that the landscapes she
designs are externalized in contexts where the individual marks the ability of
the materials. In this sense, this location has succumbed to other figures that
appear and disappear in these components as a result of a lighting approach
that resonates with the idea of space.
On
the other hand in Not-me! we note a certain heterogeneity in the predilection
for these objects, a perspective that confronts us with a great diversity of
epistemological approaches to the way in which Fuster’s work is based. Because
no doubt within her praxis she has used this swarm of metaphors as a pretext to
embrace other aesthetics and to shelter different judgments before the
enigmatic relationship that the human being has with them.
the other hand in Not-me! we note a certain heterogeneity in the predilection
for these objects, a perspective that confronts us with a great diversity of
epistemological approaches to the way in which Fuster’s work is based. Because
no doubt within her praxis she has used this swarm of metaphors as a pretext to
embrace other aesthetics and to shelter different judgments before the
enigmatic relationship that the human being has with them.
So
this exhibition presents the emotional circumstances that the artist has
conserved with several places that present her with a questioning of human
life. For this reason, she proposes an aesthetic that structures but also
amplifies an environment full of thoughtful and designed allegories as a
physiological reaction to what is imposed by her research. However, her forms
are a subterfuge in the face of the multiplicity of references that subscribe
to a scientific guideline in the momento to incorporate processes, for example,
seawater evaporation. This means that she collects, reviews and classifies the
different elements that illustrate the nature that links these works as an
alloy that is made up of various terrestrial, industrial and environmental
elements. The assemblies stress the same technique, generating a certain
expectation, by clearly seeing, the surface exhibited by the chromatic signs
plus the movements that stage what lies visible.
this exhibition presents the emotional circumstances that the artist has
conserved with several places that present her with a questioning of human
life. For this reason, she proposes an aesthetic that structures but also
amplifies an environment full of thoughtful and designed allegories as a
physiological reaction to what is imposed by her research. However, her forms
are a subterfuge in the face of the multiplicity of references that subscribe
to a scientific guideline in the momento to incorporate processes, for example,
seawater evaporation. This means that she collects, reviews and classifies the
different elements that illustrate the nature that links these works as an
alloy that is made up of various terrestrial, industrial and environmental
elements. The assemblies stress the same technique, generating a certain
expectation, by clearly seeing, the surface exhibited by the chromatic signs
plus the movements that stage what lies visible.
The
logic of this exhibition serves to unlock the images of a site of exploration
and for others to question its physiognomy in the face of the dissimilar points
of view that can sustain the action of an artist and her tireless conceptual
articulation. Nuria Fuster, when exhibiting materialities alternated with
others, faces the vague, imprecise and multipurpose meaning that shows in broad
strokes the landscape that the human being has built. And if we wish to
conclude all the diatribes that have surfaced in this exhibition, we may be
able to cultivate different multidisciplinary facts about a socio-political
space that, in general, will be reformulated in terms of its material and
atmospheric dimension.
logic of this exhibition serves to unlock the images of a site of exploration
and for others to question its physiognomy in the face of the dissimilar points
of view that can sustain the action of an artist and her tireless conceptual
articulation. Nuria Fuster, when exhibiting materialities alternated with
others, faces the vague, imprecise and multipurpose meaning that shows in broad
strokes the landscape that the human being has built. And if we wish to
conclude all the diatribes that have surfaced in this exhibition, we may be
able to cultivate different multidisciplinary facts about a socio-political
space that, in general, will be reformulated in terms of its material and
atmospheric dimension.
Rodolfo Andaur, independent curator
www.rodolfoandaur.com