Work by Cristina García Rodero “Land of dreams”



Cristina Garcia Rodero, (Ciudad Real, 1949) is a Spanish photographer who began her career in the late 60's, portraying traditions and cultures in their national beginnings and later around the world. Her reports are stained with a very personal and human vision that captures the essence of those he portrays. It was the first to enter the prestigious agency Magnum and she has received a large number of awards such as the World Press Photo in 1993 or the National Photography Award in 1996.



Work by Cristina García Rodero “Land of dreams” 



The exhibition reveals the daily life of women from all sectors and classes of Anantapur in the state of Andhra Pradesh, one of the most disadvantaged areas of India, where marginal communities live. With 80 photographs of varied format Cristina, wants to raise awareness and give visibility to the international cooperation actions carried out by the Vicente Ferrer Foundation in collaboration with the "La Caixa" Obra Social. 



View of the exhibition



An initiative narrated through images that address contemporary sensibility and highlight the role of those people who, like the photographer from La Mancha, show their particular vision of seeing the world. Some of the photographs show the hard face of the region, and in fact, the project was not easy to start, as the artist herself says: "When I accepted the commission I thought it would be easy, but when I arrived in the city, I saw it was Horrible, horrible landscapes and the frightful light, and I did not get people to stop chasing me for what I thought, how I'm going to do a good job. "



Work by Cristina García Rodero “Land of dreams”



Land of dreams, is the result of a month and a half of experiences that told under the astonished look of the artist, have managed to capture the attention of the observer. The warm and close feeling transmitted by these snapshots makes these mothers, seamstresses, peasants, teachers and students take their leading role in transforming the communities of Anantapur. Its assembly meetings show a memorable activism that together with a solid network of solidarity have made possible protection centers for battered women among other issues.


View of the exhibition



The exhibition can be visited until May 28. Around the exhibition there is an educational workshop entitled "Namasté. A look at India "aimed at middle school and upper elementary school students and ESO. This action helps to bring the young people to a reality different from the one they are familiar with.



Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.