sábado, 4 de junio de 2011


Quatre points de suspension / Four Suspension Points, 2011
Found paper, ink on Mylar, photographs, marbled watercolor paper, cotton thread, on butcher paper, 29 x 29 cm.

Identity versus Fashion

Collage played a seminal roll in the development of Modernism during early 20th century. From Picasso and Braque on their first steps of Cubism to Max Ernst, Malevitch, Duchamp, Schwitters, or Dali, numerous artists recurred to collage as an ideal vehicle to navigate formal experiments in their quest for innovation and originality. This eventually led them to all known avant-gardes that gave shape to the zeitgeist of the first half of that tumultuous century.

Today we experience a sort of “after-modernism” (Postmodernism was something after really older stuff) apparently led by the forces of the art market and its front line, the auction houses which suddenly received a good supply of modernist pieces to feed their lots, mainly formed by contemporary art until recently.

Tu grilles / You Toast, 2011, Found paper, photographs, wheat toast, 14 x 14 cm.

Kira Tippenhauer’s collages have a definitively modernist flavor, but also have something that takes them beyond the “after-modernist” trend that is seemingly trying to shape the zeitgeist of the beginning of this century, with an aseptic interest in pure formal and aesthetic problems whirling around the construction of the artwork as a distraction from reality while a rich source of non self referential issues. However, she dares to deal not only with reality but also with identity, the most essential part of everyone’s reality. Her faceless characters are as diverse and similar as she is, as anyone can be. These all-limb entities strive to accomplish their most important functions as sexual, productive and locomotive machines. Swimming in an ocean of lexical confusion, navigating a multilayered reality in their quest for reaffirmation and truth, tightly tied by ropes to a food chain physicality, they can go from a mystical body of Christ kind of thing (as an ordinary breakfast item) down to their fleshy, meaty, even cellular condition.

Kira works in the fringe of an issue that does not seems to be fashionable anymore in our cultural milieu, although it is essential for her amidst a process of displacement and relocation, which usually turn the subject matter of identity into a condition to be treated by the healing power of art.

Rafael López-Ramos

Lilliput, 2011, Found paper, photographs, marbled watercolor paper, thread, and ink on butcher paper, 13 x 13 cm.

Kira Tippenhauer – Transfigured Identity

June 3 – 30, 2011
Openings Friday, June 3 + Saturday, June 11, 2 - 10 PM.

Edge Zones Art Center
47 NE 25th St.
Miami, Fl 33137
Tel. 305 303 8852

5 comentarios:

Gerardo Muñoz dijo...

Rafa, hay tambien algo dadaista en estas obras. Una especie de dadaismo que encuentra el tropico y la esfera gastronimica (esencia del tropico?)

Gracias por resenarlo. un abrazo,


R.L.R. dijo...

Así es Gerry, es un obra con muchísimas capas de sentido. me quedaron cosas por decir pero tuve muy poco tiempo para entregar esto.
gracias a ti por compartir visión.
Otro abrazo.

A.T. dijo...

RLR: Claro que salen espinas.

Anónimo dijo...

Nice, espinocita y todo. RI

R.L.R. dijo...

AT & RI, entonces que sigan echando espinas los lirios...


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