Biennials History of the Biennial. The Biennial in history. Santo Domingo: Museum of Modern Art, 2015.
Table of Contents:
The cultural institution added new initiatives to its work for the benefit of Dominican art and culture from Santiago de los Caballeros.
The gathering with the Dominican artist of Uruguayan origin was made on the occasion of the 15 years of this cultural institution.
The German-French artist spoke with the public in Santiago prior to the opening of her exhibition in Santo Domingo.
The Korea Food Expo will be held for the first time in the country, on 24 and 25 days in November at the León Center.
The contest is dedicated to Juan Antonio Alix. The illustrations should be inspired by three of his popular tenths.
The workshop is part of the activities of the Decorate your Barrio 2018 contest of the Mi Barrio program at Christmas at Centro León.
The Opera Club is an activity of the Leon Center that every two months presents the projection of a work of this genre to promote the enjoyment of this musical and theatrical spectacle.
I believe in photography as a starting point -other- propitious and manager to manifest human experience. Not a mere artistic question is interwoven between each of the shots that are observed in this careful and expectant curatorship. I applaud this museographic concept as added value for Tropic of Cancer, exhibition of the Spanish photographer Juan Manuel Díaz Burgos recently inaugurated on Thursday night 1ro in November at the León Center, Santiago de los Caballeros, as part of the 8va edition of the Photoimagen Festival organized by the 83 Image Foundation in the Dominican Republic. with Spain as the guest of honor.
The exercise of photography requires, on many occasions, solitude, silence, concentrated effort, time and light. Enough light to draw the crucible of memory. Thus the photographer rediscovers that intimate and vaulted spirit of the other - and ours, secretly unacknowledged - while inscribing and describing us, and his desire holds identifications often ignored. I suspect (how not to suspect) that these are the moods of the photography of Juan Manuel Díaz Burgos.
Alienated as we live by prejudices, until the moment of finding the blow on the cheek that our images produce, the civilized integrity -humanist as Díaz Burgos himself has defined- of the artist, encourages us to appropriate other cosmologies, others myths, setbacks, religiosities and idiosyncrasies that signify a collective impulse, a state of mind tempered by that restlessness and the anxiety of man to leave testimony of his passage through existence, as if existence itself were not enough for him.
The discernment of a realism in perspective around the existence of being is being portrayed as an object, the photographer himself has let us know. An intimate gesture, that is, publicly intimate, but sincere of the reality that is watching.
That gesture that ennobles the deepest glimpse that inhabits the imagination of the great public. The public without a voice, -read without eyes, or at least without that critical look that makes it aware of its context-. Everything, with a personal frame and overflowing in aesthetic tenderness, a kingdom towards which Díaz Burgos directs us to direct our gaze without scrutinizing guilt, more than in human nature, a gesture that allows us to reveal - to put it in photographic terms and dear to the artist - all that we are capable of believing, growing or winning, making our inner self comprehensible, its conscious approach to the beauty that is not seen by simple inspection, the panics and the reason of our subconscious, beyond the clik and any of our esthetic latitudes as the epigraph of these words alludes.
An itinerary at first sight for the images shown invite to stop and / or moderate the passage of the viewer in many images. An impression that I could capture as atmosphere of the room, beyond a mere and solace cultural exercise to become an existential look. An introspection where there is no light for indifference. At the end of the day the light of the tropics has not left at all indifferent the restlessness of Juan Manuel in his passage through our islands of the Caribbean.
Historically photography carries with it a predilection for mixtures or sets of emotional realities and dynamics, impressions and feelings extracted from the past and the present with a diaphragm diary enlarged looking for in the future, for no other reason, as I think, that human nature delving into its origins.
The gaze of the photographed subject, however, seems to be overlooked, in my perception of the images that formulate the aesthetics of Tropic of Cancer, this gesture -other- consolidates the intentionality of the author to generalize, share, or visualize realities beyond what is referenced as mutual recognition, to give light -the blessed circumstance of light everywhere- to a geographical and socio-cultural environment that it is also submerged in human anxiety.
With its Tropic of Cancer Díaz Burgos offers us a guide to distance our ego from the rigor of our time and its perpetual trivial speculations. At the same time that his aesthetic "line of latitude" achieves it with admirable impetus in the drama of its frames, the temperature of its lights and the undeniable impassivity with which the semantics of its takes flood us; everything, with an impeccable nobility in its ability to thrill (se) us.
In the photographic records that the sample shows us Tropic of Cancer there are therefore unconnected or parallel latitudes seen from the lens of a European tourist at the pass, rather they appear portrayed a human geography that identifies us from the fullness of that lighting that blurs, as it has been recognized, but that at the same time distinguishes us . Reasons that definitely enamored - to put it in their own words - Juan Manuel Díaz Burgos of this island, its people, its values, its geography, its anxieties, but above all some keys of the tropics that the artist makes us see, despite the bandage in the eyes of their subjects, with resonances that carry an impeccable identity of the individual with their circumstance, their environment, their history.
Poet, literary critic, photographer and cultural promoter.
The exhibition arrives at Centro León on the subject of Photoimagen 2018, which has Spain as the guest country.
Robin Bernstein took over last September the diplomatic representation of his country in Dominican territory.
The selection of works will be exhibited until April 2019 in the Temporary Exhibitions Hall of the León Center in Santiago de los Caballeros.
The artistic presentation was held in the Patio Caribeño, part of the agenda for the 15 years of Centro León.
The dialogue was held at the end of the second day of the film workshop El Encuentro, of the IV International Independent Film Festival of Santiago, IFFiC.