The lines of destiny of Marina Vargas

 

 

A thin invisible line connects in the space-time a run of Tarot cards, two ceramic vases of Alcora from eighteenth century and a cover of the magazine Blanco y Negro dated 1930. The artist who has drawn that golden line is Marina Vargas (Granada, 1980).

 

As the protagonist of the program Connections in its eleventh edition, Vargas submitted a proposal which connect two works: one from the Collection of the Banco Santander Foundation and other from the funds of the ABC Museum. In this case the vases and the cover (by the way, by Angels Torner Cervera, one of the pioneer women of Spanish graphic design) were integrated into the exhibition "Lines of Destiny" through a third element, a deck of Tarot de Marseille. The magic was served.
 

 

Marina Vargas was inspired by a real Tarot reading (a video can also be enjoyed in the sample) and she has reinterpreted the 9 cards that came out that way and marked her destiny. Her version of the arcana is marked by her arabesques, her lines, the "guts" that fill the original drawing and fill it with mythology, symbols and traditional beliefs, witchcraft and Santeria, mixed with language more cultured art .

 

 

Some of the 9 pieces, enlarged and placed on wooden supports, are deliberately taken down and they rest on the floor because the artist wanted to finish them in situ so that the viewer can also enjoy the creative process and the transformation of the works.

 

 

The Connections program offers mid-career artists the opportunity to present a broad sample in a not galleristic institutional space, and invites them to show projects based on the drawing as a basic format and inspired by works from the Museum's collections and the foundation.

"Lines of Destiny" will be in the ABC Museum of Illustration (Madrid) until 25 September 2016.
 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.