By Argentina became a hurricane, but this time, for once the epicenter, the eye of the storm was over Buenos Aires. In La Plata, the oblique, the rock band today and pound for pound is the largest in the world, left a trail fan with his head split, spilling what was left of them by these biases that make the city into a maze to outsiders. U2 The Irish gave three shows in which nobody seems to have been defrauded and increased his reputation as makers of unforgettable performances. It will be said at this point, everybody knows, in the same way and everyone knows that in addition to his music, the star of their presentations was the futuristic setting is homely-named Claw. What few know is that while they did jump to the full in the luxurious Argentina Estadio Unico, Republic of La Boca, which occupies space in front of the Creek Proa Foundation, a giant metal spider was evidence that the Talon has a mother. Titled The return of the repressed , Proa Foundation exhibits an exquisite selection of works by Louise Bourgeois France, multifaceted artist who by convention may be defined primarily as a sculptor, though many of his works are drawings, paintings, installations, texts and embroidery, which far exceed the stiffness of a single category. Any attempt to classify it as incomplete as it is so reductive, limiting and, above all, unnecessary. Will Bourgeois fully represents the total figure of the artist and an organic view of art where the generic is not a closed border, but an open door through which resonant venture into familiar spaces. Is that why it is not surprising to find some drawings on sheets drawn staves, as if thereby also expanded his work to the ethereal world of music.
But if it comes to music, there are again the U2 and Claw bourgeoiseana, inspired by the bestial mother of iron, this spider seems inclined to give birth marble eggs there in the same lane of the Foundation. It is risky relationship between the two structures, especially knowing the admiration that Bono himself has stated on more than one occasion by the work of Bourgeois. But if not enough to oppose picture against picture for the monumental Maman (that is the original name of the spider, literally "Mother" in Castilian) claims custody of the acromegalic claw rocker, it may be enough to throw on table the last photo the Irish singer was taken last year with his admired Louise in New York atelier of the artist. And if that does not suffice, because there are always those who want a final proof of the existence of God, may be short a visit to The Edge's own (known as "the U2 guitarist) performed at the headquarters of Proa Complete the exhibit to travel to The return of the repressed, as confirmed by officials of the Foundation, who still lament the refusal of Guitar Hero to allow cameras perpetuate this magical moment. After that, what does it matter that Bono has wanted to hide the obvious, stating (demagogic) on their way to Spain, that the design of the Claw is more influenced by the aesthetics of the Catalan architect Antoni Gaudí, which Bourgeois spiders? Dale, Bono! Travel
The Return of the repressed the care of the curator Philip Larratt-Smith, proposes a fantasy dream space that erupt without warning into reality. Fantasies that, as if it were a psychoanalytic view, preserve the line between hypnotic monstrous and nebulous memories of childhood. If at first the spider parturient greets visitors at the door of the foundation (and a younger sister awaits them in the first room, ready to spawn within a large cylindrical cage in the center of which stands a chair waiting for the mildly download), no way surprised to find in a profusion of objects that refer directly to the phallic, the Mammal or scatological. Janos suspension and bifid glans, curved mirrors that return the twisted reality through the filter of the grotesque, orgiastic rag dolls, mutilated and crippled, who insist on suggesting braided hugs texts sublimated fantasies spill, and certainty, in his own handwriting, that Art is a guarantee of sanity are part of that journey obscure but vital. In between, the most complex of the exhibits: Red Room (Parents) . This is a double room surrounded by a circular fence gates, which prevent picketers embraced lean as a direct inward. Forced to search for cracks, locks and mirrors, the visitor can have a look only fragmentary and directed inside the red room, the parents, where ghosts Bourgeois would like to suggest to the shadows meaning of the objects that inhabit it. What any men seeking nothing more or less forbidden to spy on the room, that the noise (and rituals) night, trying to satiate the curious instinct without which The return of the repressed would have no reason be. And thus the world.
Sample Information
The exhibition of works by Louise Bourgeois, The return of the repressed can be accessed until June 19, Tuesday to Sunday and from 11 to 19 hours in the headquarters Fundación Proa, Avenida Pedro de Mendoza 1929, in La Boca.
Article originally published in section Time Argentine culture.
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