Folleto
Luisa Pastor representa a España en Washington
Descripción de la Exposición
El próximo 8 de octubre se inaugura la sexta bienal de arte contemporáneo Women to Watch que lleva por título Paper Routes, en donde se exponen las obras de mujeres artistas que trabajan con papel. Se trata de una exposición de relevancia internacional que está pensada para ocupar todas las galerías de la segunda planta del National Museum of Women in the Arts, en donde participan 22 países invitados.
Los 22 comités que participan en esta exposición trabajan con curadores y comisarios de sus respectivas regiones, para crear listas de artistas que trabajan con papel. De esta manera, el comité español encarga a Amparo López Corral, gestora cultural especializada en producción y consultoría de proyectos artísticos, elaborar una selección con posibles artistas candidatas para representar a España en esta muestra de arte contemporáneo. Finalmente, el consejo interno del National Museum of Women in the Arts selecciona la obra de la artista Luisa Pastor como candidata definitiva.
La galería gallega Nordés, de Santiago de Compostela, es la encargada de representar la obra de Pastor, en donde las curadoras de la muestra Carolyn Higgins y Virginia Treanor han seleccionado una colección de piezas realizadas con papel, recogidas en dos series de trabajos diferentes. Según el comité curatorial del museo esta exposición ayuda a “aumentar la visibilidad de artistas emergentes, en donde las artistas destacadas en Paper Routes responden a múltiples usos del papel, desde carteles de protesta, boletos de lotería nacional o papel tapiz, acercándose a este medio desde diversas maneras, resaltando las delicadas propiedades del papel a través del corte meticuloso que dan como resultado formas, patrones y diseños elaborados”. De igual modo, resaltan que esta exposición “destaca y celebra esta diversidad de enfoques y transforma este material omnipresente en complejas obras de arte”.
En Woman to Watch- Paper Routes 2020 se podrán ver varias obras de Luisa Pastor de la serie El azar del mestizaje (2016), realizados con papeles de Lotería Nacional Mexicana, durante la estancia de la artista en la beca de excelencia del gobierno mexicano, en Ciudad de México, y, también, de la serie (De)contrucción la obra titulada “Topología del pliegue” (2017), realizada con los papeles antiguos de contabilidad. Esta última pieza se pudo ver en la exposición individual que tuvo la artista en su galería gallega, en enero de 2018, y también en el stand de la galería en JustLX, Lisboa Cotntemporary Art Fair, en mayo de ese mismo año. Allí, un coleccionista alemán adquiere la obra que, posteriormente, prestar al museo de Washington para su exposición. Luisa Pastor explica que “en ambas series de trabajos mi intención es reflexionar acerca de la ‘mismidad’ del objeto a partir del corte del bisturí, que desarticula la unidad del documento, en cientos de trozos de papel, en busca de un lenguaje poético y conceptual”.
La exposición Women to Watch- Paper Routes 2020 presenta obras de Jen Aitken (representante del comité del museo en Canadá), Elizabeth Alexander (Massachusetts), Natasha Bowdoin (Texas), Mira Burack (Nuevo México), Elisabetta Di Maggio (Italia), Oasa DuVerney (Nueva York), Mary Evans (Reino Unido), Rachel Farbiarz (Región del Atlántico Medio), Dolores Furtado (Argentina), Angela Glajcar (Alemania), Dalila Gonçalves (Portugal), Julia Goodman (Norte de California), Joli Livaudais (Arkansas), Annie Lopez (Arizona), Paola Podestá Martí (Chile), Echiko Ohira (Sur de California), Luisa Pastor (España), Sa'dia Rehman (Ohio), Natalia Revilla (Perú), Lucha Rodríguez (Georgia), Georgia Russell (Francia) y Hyeyoung Shin (Gran Kansas City). Esta exposición está recogida en un catálogo físico, que podrá adquirirse en la página web del museo.
En estos momentos, Luisa Pastor se encuentra trabajando en la ciudad de Bilbao, con una beca de producción de la Fundación Bilbao Arte, para desarrollar un proyecto en torno al concepto de ‘vacío’, que podremos ver en diciembre en la Fundación Bilbao Arte y, próximamente, en el stand de su galería en la Feria de Arte Contemporáneo de Estampa en Madrid, en función de la situación sanitaria a causa de la pandemia.
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Cut, folded, torn, glued, burned or embossed, paper becomes a transformational art medium in Paper Routes—Women to Watch 2020, on view at the National Museum of Women in the Arts (NMWA) from October 8, 2020 through January 18, 2021. Presenting the work of 22 emerging and underrepresented contemporary women artists from around the world, Paper Routes highlights the versatility of paper well beyond its traditional role as support for drawings, prints and photographs with works that range in scale from intimate to immersive, Some featured artists highlight the delicate properties of paper through thousands of meticulous cuts, while others create surprisingly dense and monumental sculptures.
Paper Routes is the sixth installment in NMWA'S Women to Watch exhibition series, which results from an innovative collaboration between the museum and its national and international outreach committees. The 22 committees participating in Women to Watch 2020 selected curators in their regions who created shortlists of contemporary artists working with paper. The curators who participated in the selection of artists for Paper Routes are from major institutions such as the Brooklyn Museum, New York: The Phillips Collection, Washington, D.C.; High Museum of Art, Atlanta; Fine Arts Museums of San Francisco and MusCe des Arts Decoratifs et du Design, Bordeaux. From these nominations, NMWA curators selected one artist from each committee whose work will be included in the exhibition, The artists are represented by 12 states and ten countries: Argentina, Arizona, Arkansas, Northern California, Southern California, Canada, Chile, France, Georgia, Germany, Italy, the Greater Kansas City Area, Massachusetts, the Mid-Atlantic Region, New Mexico, New York, Ohio, Peru, Portugal, Spain, Texas and the United Kingdom.
The artists in Paper Routes are: Jen Aitken, Elizabeth Alexander, Natasha Bowdoin, Mira Burack, Elisabetta Di Maggio, Oasa DuVerney, Mary Evans, Rachel Farbiarz, Dolores Furtado, Angela Glajcar, Dalila GonCalves, Julia Goodman, Joli Livaudais, Annie Lopez, Paola Podestá Marti, Echiko Ohira, Luisa Pastor, Sa'dia Rehman, Natalia Revilla, Lucha Rodriguez, Georgia Russell and Hyeyoung Shin.
"The Women to Watch program offers an unprecedented opportunity for women artists to show their work, often for the first time, on a national and international level," said NMWA Director Susan Fisher Sterling. "No other museum outreach effort is so targeted in its commitment to discovering and promoting women artists working today. We are delighted to welcome such a talented group to the museum."
ART AND ARTISTS
In cultures around the world, artists have explored paper as a medium in and of itself, Perhaps the best-known example is Japanese origami, whose practitioners deftly fold paper into myriad forms. Other traditions include intricately cut paper like papel picado in Mexico and wycinanki in Poland. The first documented papermaking process took place in China more than 2,000 years ago, but mass-produced paper—created cheaply from cellulose fibers converted into pulp—has been a staple since the 19th century. Today, paper art is a thriving and diverse genre in its own right.
Many artists who work with paper emphasize its ephemeral quality. For Jen Aitken (Canada, b. 1985), paper enables her to create volume without mass. She makes architectural constructions for each new exhibition space, as they respond specifically to their surroundings. The work of Mary Evans (United Kingdom, b. 1963) is also site-specific; she composes large-scale scenes from cutout silhouettes that exist only for a specified timeframe. The disposability of the brown packing paper in her work carries meaning, as Evans likens it to the way in which Black bodies have historically been commodified, used and discarded,
In large quantities, paper can be heavy, unyielding and compact, a property some artists choose to exploit. The monumental sculptures of Angela Glajcar (Germany, b. 1970), created with multiple sheets of heavyweight white paper, demonstrate the inherent beauty of the material. Her hanging work's feathered edges result from the artist's tearing process, and the layers of paper create light caverns that contain a play of shadows, Sculptures by Dolores Furtado (Argentina, b, 1977) also rely on the density of material. Inspired by the transformation that paper undergoes from liquid to solid during manufacture, Furtado molds handmade paper pulp into tactile sculptures.
Artists Sa'dia Rehman (Ohio, b, 1980) and Julia Goodman (Northern California, b, 1979) allude to paper's role in recording the weight of history to reinforce the importance of their subjects. In Rehman's life-size Family (2017), she uses newsprint to portray her Pakistani American Muslim family, highlighting the discrepancy between her ordinary subject and the imagery of war and violence with which Muslims frequently appear in the media. Goodman plumbs the history of rag sorters to highlight the invisible labor of women who were part of the rag-based paper industry. Taking discarded material from the factory in San Francisco where these women, mostly Italian immigrants, labored untilthe 1960S, Goodman makes her own paper pulp, onto which she impresses their names.
Paper cutting is a longstanding tradition in paper art and includes silhouettes, developed in 18th-century France, and the art of scherenschnitte, or "scissor cuts," brought to colonial America by German immigrants. Georgia Russell (France, b. 1974) meticulously slices, slashes and reconstructs old books, music score sheets, maps and other printed materials into lush, tendrilled sculptures and latticed cutouts, Paola Podestd Marti (Chile, b. 1969) re-creates large ornamental faCades using thousands of individual laser-cut pieces in the shape of insects to comment on nature's reclamation of untended historical sites. Likewise, Elisabetta DiMaggio (Italy, b. 1964) uses a surgical scalpel to cut precise and intricate designs on large panels of fragile tissue paper that cover the walls of an entire room.
Paper's adaptability allows a multitude of techniques in addition to cutting. Applying the art of origami to her practice, joli Livaudais (Arkansas, b, 1968) prints photographs of personal subjects—family, friends, artwork and objects of beauty—and shapes them into beetles that appear in her work frequently as symbols of spiritual transformation. The time-consuming physical process of folding each photograph fosters introspection and reflection on past experiences, Hyeyoung Shin (Greater Kansas City, b. 1973) draws on Jiho-gibeop, a traditional Korean method of paper casting from objects. In Tide (2019), inspired by the worldwide Women's March rallies in early 2017, Shin casts individuals' feet to reflect on the distinct and collective paths that people take as a result of personal and political values.
One of paper's distinguishing characteristics is its malleability, providing rich fodder for artistic innovation. Annie Lopez (Arizona, b. 1958) uses a cyanotype process to print personally relevant images and texts on tamale paper, sometimes stitching together as many as 40 sheets to fashion her blue vintage-style garments. Inspired by textures and forms found in nature, Echiko Ohira (Southern California, b. 1949), twists, tears, stacks, nails and sews layers of untreated, tea-stained or vibrantly dyed paper for her evocative abstract sculptures.
Paper Routes—Women to Watch 2020 is organized by the National Museum of Women in the Arts and sponsored by participating committees in Argentina, Arizona, Arkansas, Northern California, Southern California, Canada, Chile, France, Georgia, Germany, Italy, the Greater Kansas City Area, Massachusetts, the Mid-Atlantic Region, New Mexico, New York, Ohio, Peru, Portugal, Spain, Texas and the United Kingdom.
The exhibition is made possible by Northern Trust with additionalfunding provided by the Clara M. Lovett Emerging Artists Fund and the Sue J. Henry and Carter G. Phillips Exhibition Fund. Further support is provided by Bayer AG, the Councilfor Canadian American Relations, and Luso-American Development Foundation.
The museum extends appreciation to the Embassy of the Federal Republic of Germany, Embassy of Italy with the Italian Cultural Institute in Washington, D.C.; and the Embassy of Peru in the U.S.
Special thanks to the Mississippi State Committee and San Francisco Advocacy for NMWA for their support of the Paper Routes catalogue.
Exposición. 31 oct de 2024 - 09 feb de 2025 / Artium - Centro Museo Vasco de Arte Contemporáneo / Vitoria-Gasteiz, Álava, España
Formación. 16 nov de 2024 - 17 nov de 2024 / Bizkaia Aretoa / Bilbao, Vizcaya, España
La mirada feminista. Perspectivas feministas en las producciones artísticas y las teorías del arte
