Supratemática en La 15 Curatorial Space

odd mix : Rum piraguas at La 15



Myritza Castillo

Kristene Serviá



SUPRATEMÁTICA 
LA 15 Curatorial Space
jueves 5 de noviembre

According to the press release “SUPRATEMATICA explores ludic concepts in consumerism, information, encoder-decoder, the end of a story and even gets to deny postmodern discourses.” Fortunately, this random mix match of ideas were nowhere to be found physically or conceptually in the exhibition. As a whole, the concept was so randomly related that you couldn’t help but wonder if it was an excerpt from a different exhibition altogether. Another problem was the absence of titles.

Works by two noticeably distant generations of women artists where shown across each other: Inés Aponte and Dhara Rivera (representing the 80's) and Kristine Serviá and Myritza Castillo (stepping up to the plate as the fresh contingent). This offering illustrated an obvious rift between what's considered to be an established and an emerging artist, and for all the pretentiousness found in press release, this alone could’ve worked quite well as a characterization of the show. 

Dhara Rivera

Inés Aponte presented a series of small drawings on patterned paper from which an equal number of animated sequences were shown on a looping DVD player. The framed works exhume that typical aura contained in artifacts made by mature artists--her particular aesthetic exerting the powerful pull of experience on the observer. A whimsical museological display by Dhara Rivera was a pleasant surprise. Made up of tiny animal body parts, carefully colored through intricately weaved red coverings, and are displayed under a glass top.  Six framed black and white photographs of different specimens complete the installation. Rivera’s ensemble echoed the usual neurotic ordering of taxonomic language.


Kristine Serviá’s squared illustration of an urban landscape (on drafting paper) was successful in terms of atmosphere and depth, but hardly impressive given the vibrant, unavoidable and graphically masterful graffiti scenes and lineal clusters we have become accustomed to seeing in urban San Juan. Recent public murals by NEPO, ISMO and SON have indisputably influenced many in the scene. On a smaller scale Servia suggest a life-size installation of sorts—with the hum and peeking-through-power-lights of machines in a dark computer lab—set to a dark ambient soundtrack. Other symbolic geometric components that look like boxes, packaging material, empty billboards, empty booklets and a tangled web of cables, deal gracefully with incompleteness-- ambiguously located between accident and intention. 


Rounding up the exhibition was Myritza Castillo’s interactive "typewriter and paper" installation. Here visitors could write their own narrative on a long roll of tracing paper, each participant collaborating with the artist in what appears to be a work in progress. I was more interested in experiencing this vintage machine in full aesthetic function, an action that proved a bit clumsy, especially for our keyboard generation. For those not wanting to be involved  in the performative configuration, three nice and delicate watercolors of the typewriter were a welcomed alternative.

by Javier Román: artist, architect and editor of Entorno
photos courtesy of Edwin Medina and La 15