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Excavation Exercise by Ilana Crispi

Excavation Exercise presents evidence of a contemporary archeology. The artificial layering of sediment and growth alludes to the natural deposits of earth over time. Excavation Exercise simultaneously reflects nature and artifice. It presents a quotidian action confronted by an accelerated and selective – and unnatural – geological event.

The objects in the window are those of active stasis, of movement in place. A machine that simulates walking confronts a TV just as it would in a gym or exercise room. Except for their encasement in clay, the objects in the gallery window fit right into the neighborhood. Across the street from the gallery you can watch people exercising on display through the window of an actual fitness center. Exercise as performance or theater is not so far fetched.

Movement is no longer natural. We move without moving. We walk without our feet touching the ground and we get nowhere. Still there is a desire to be natural, to be fit, to be human. We simulate the most natural activity in order to “keep in shape.” We maintain our form by becoming a simulacrum of that form through a simulation of activity while nature continues on its course.

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Tecnochinampas

The development of the technochinanpa as an art concept started two years ago, when I was reading a chronicle of the conquest of Mexico, written by a Spanish soldier during the XVI century. The chronicle portrayed the first impressions that the conquistadors had about the city of Tenochtitlan, Capital of the Aztec empire. One of the most impressive features that the new city offered to them, were the “Chinampas” (nahuatl word for floating gardens) On front of the European eyes, those chinampas, looked as strange and sinuous formations, which virtually covered the part of the lake which surrounded the Aztec capital. Technochinampas is an interpretation of the original chinampas , but seen from the air. Technochinampas , are also based in the complex and gigantic patterns of design which still cover the plains of Nazca, Peru. Finally I took some inspiration on the sophisticated designs used in the Diaguitas pottery developed by the early inhabitans of Chile before the arrival of the conquistadors.

I utilized the symbol of the Technochinampas in order to express the amazing level of complexity that our civilization has achieved. Complex patterns of strong black ink over the immaculate white of the surface will represent our complex but at the same time fragile institutions, governments, and in general our whole civilization.

Gonzo de Sepulveda (Gonzo)

Gonzo is a South American Artist originally from Chile. His work is mostly based in his life long experience making comic and illustrating magazines and diverse publications in his native place. His work is highly influenced by a childhood watching animations and reading comics, the aesthetics and colors from the 50’s, and the art made by the prehispanic civilizations of America. Gonzo made is first show, “ Plop” during the last year in “La Casa del Libro Gallery”

MadCat Installation 2007