When deploying from the 22 of July to the 25 of September, the hallucinatory exhibition "Gray Zones, Shades of the World in the Global Era", the Leon Center bursts with great visual and aesthetic force in the very first world problems that encompass the categories City, Culture and Development The fight against violence, climate change and protection of the natural environment will be won or lost in the cities. That is why the Museum of Antioquia, Medellin and the Leon Center have staged in the city of Santiago, a hopeful dialogue that critically projects Latin American cities in the global era. Medellin and Santiago have histories, paradigms and internal contradictions to tell.
Both cultural entities "crane" their various exhibitions to forge criticism, dream visions and formulate proposals that involve the best human essences in this stormy second decade of the 21st century. The exhibition brings together Colombian and Dominican creatives in the field of critical and neoterciary urbanism. "Gray Zones, Shades of the World in the Global Era" imagines in a contradictory way the "coranomía" as some call the "urbanism" as art and science to harmonize the use, the value of use, the property, the rent, the load and the conformation of the soil.
The exhibition shows the relevance of cities, territories or unique or diverse spaces that are transformed by the passage of time acting on them, on their structure and parts. What is capable of explaining the forms, essences and processes of cities, is the genesis of all those transformations in themselves and in their internal logic of social competition in the urban whole conditioned by the productive forces of any territory. What a city culturally enumerates, as a society with a specific history and geography, is how the different modes of production of its social subjects conform urban fabrics that stimulate artists to generate visual, scenic, installations, performances, audiovisuals and representations of the development crisis that the cities of the world are experiencing.
As director of the Strategic Plan for the Urban Development of Santiago (PES) and member of the Friendly Families of the Leon Center, we invite all citizens organized in the neighborhood association federations of the zonal planning units of Santiago, members of business and social organizations, students of schools, colleges and universities, graphic designers, photographers, architects, builders, members of companies and any citizen on foot, to walk, enjoy and cradle with Medellin and Santiago, this exhibition.
The show also plays with the dialectic of form and content that relates the local and the global. It makes us reflect on the highly favored, but little-controlled thesis of "thinking about the global to act locally", when in fact what is needed and productive in the cities, is to reflect on "the local in terms of urban planning for thus be able to assess the replication points of the local in the universal. That is why many schools of urban planning, planning and strategic planning have proposed the term "GLOCAL", that is what the sample is about.
It was the Catalan Ildefonso Cerdá (1815-1876) who, in the XNUMXth century, used the term “urbanization” for the first time, based on the Latin concept of “Urbs”. In the Roman tradition, Urbs expresses everything that was inside the circle limited by the furrow opened by the sacred oxen, in an act of great symbolic significance that Roman citizens carried out to convert a specific territory into a habitable space. This Roman practice allows us to assess from its origins, the "culture" and the development of urbanism, in our case, urbanism that in the Council for the Strategic Development of Santiago (CDES) we objectify as "inclusive". Building a city is to increase individual well-being, the sum of which has the power to specify what Cerdá creatively called “public happiness”.
The exhibition is organized museographically in four major areas. The first area, URBAN CONDITION: shows the dialectic of the urban versus the rural. It talks about how cities grow by usurping and invading green areas and areas of rural life, and leads to the conclusion that making a city is a democratic and patrimonial right of humanity that must be based on collective decisions. The second area BRANDS THAT MAKE TERRITORY: expresses the city that is observed as a stain in a specific territory, so this area translates various types of stamps, stamps and urban and human footprints, which carve the diverse populations and their buildings in a many times violent.
The third area shows the FASCINATION AND DISENCHANTMENT WITH TECHNOLOGY: it is the museum space where it narrates how a manifestation of the productive forces of a specific society, synthesized in technology, emerges sociologically as an approach to solve human problems, however many sometimes technology becomes the problem itself. The fourth area concludes with a challenge, THE POWER TO ACT TOGETHER OR CULTURAL ECOLOGIES: in this space you play with the symbols or alternative tools that an urban society has to get ahead. Power as a driving force; concurrence to realize a shared vision of all sectors of a city.
The unusual exhibition that is currently shown at the León Center, "Gray Zones, Shades of the World in the Global Era" is a set of visual, scenic and mixed works that is really a cultural invitation to the urban transformation that we need to promote. It is the social shout of Dominican and Colombian artists exposed in a dramatic way by the specialized curators of Colombia Nydia Gutiérrez, and Dominican Sara Hermann and Joel Butler, to assume the city as an aesthetic exercise that should be studied in urban strategic planning and rural that we intend to promote and specify.
Executive Director Council of the Strategic Plan of Santiago