Luminances: An exhibition by José Luis Macas Paredes within the framework of Kolla Raymi

Article Sidebar

HTML (Español (España)) PDF (Español (España))
Published: Apr 29, 2023
DOI: https://doi.org/10.26807/cav.v8i15.521
Keywords:
light, sun, water, Andean world, solstice, equinox, Inti, Pacha, pre-Columbian, Kichwa, Kolla Raymi, cyanotype.

Main Article Content

María Fernanda Cartagena Proaño
a:1:{s:5:"es_ES";s:24:"PhD(c) McGill University";}

Abstract

Curatorial text of the latest solo exhibit by contemporary artist Jose Luis Macas Paredes presented at the N24 art gallery in Quito, Ecuador. The artist’s sustained research-action in and from the pacha or Andean time-space continues in two series conceived for the gallery space: Luminances and Achikyakushuyu (Sun and water drawings). The first series is analyzed by focusing on the restitution of pre-Columbian graphics and patterns related to astronomy and to light as an activating element. The dynamic compositions also take up the legacy of Brazilian neo-concrete. The second series, composed of cyanotype drawings, refers to the artist’s synchrony with vital elements of the Andean world such as the sun and water, and their agency. The exhibition was presented during the Kolla Raymi - September Equinox, a festivity that honors the lunar cycle, the waters, and the fertility of Pacha Mama.

Downloads

Download data is not yet available.

Article Details

How to Cite
Cartagena Proaño, M. F. (2023). Luminances:: An exhibition by José Luis Macas Paredes within the framework of Kolla Raymi. Index, Contemporary Art Magazine, 8(15), 154–163. https://doi.org/10.26807/cav.v8i15.521
Issue
No. 15 (2023)
Section
Curatorial
Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Index, revista de arte contemporáneo maneja sus derechos bajo licencia Creative Commons Reconocimiento-NoComercial 4.0. En ese sentido los envíos quedan sujetos a la decisión del autor.

References

Referencias

Bardet. M. (2021) Perder la cara. Cactus.

Descola. P. (2012) Más allá de naturaleza y cultura. Amorrortu.

Ferreira, G. (2017 [1959]). Teoría del No-Objeto. En C. Zapata, (Ed.), La Expresividad de la Forma: Escritos sobre Arte y Poesía, (pp. 65-70). Bienal de Cuenca. https://issuu.com/bienalcuenca/docs/expresividad_de_la_forma_issuu

Hamilakis, Y. (2014). Why ‘Palaces’? Senses, Memory, and the Palatial Phenomenon in Bronze Age Crete. Archaeology and the senses: human experience, memory, and affect (pp. 161-190). Cambridge University Press.

Macas Paredes, J. L. (2020). Recorrido equinoccial – Intyshayakllipllayñan: Proyecto artístico de tiempo-espacio específico. Índex, revista de arte contemporáneo, 10, 75-92. https://doi.org/10.26807/cav.vi10.138

Perugachi A. & Yuyak A. (2021). Celebraciones Kichwas de Cotacachi. Muyumi Kanki. Kichwa Cultural Center.

Stothert, K. E. (2006). La cerámica de etiqueta de las tolas de Japoto (costa de Ecuador). Bulletin de l'Institut français d'études andines, 35 (3). https://doi.org/10.4000/bifea.3640