marisa tellerĂa: still
ISBN: 978-0-9859416-4-2 Š 2014 The Frost Art Museum Cover image: untitled installation, 2014 wire and tulle fabric dimensions variable
marisa tellerĂa: still
The Patricia & Phillip Frost Art Museum September 10 - October 19, 2014
clouds 1 There is nothing which is not a cloud. Cathedrals are vast clouds of stone and reverent crystal time will at last efface. The Odyssey is a cloud as various as the ocean — whenever it is opened, there is something new. Already now, a different face awaits you in the mirror and the day is a bewildering labyrinth. We are that which vanishes. Intricate clouds dissolve in the west — they are our image. Unceasingly, the rose becomes a different rose. You are cloud. And sea. And oblivion. You are all that you have ever lost.
jorge luis borges
nubes 1 No habrá una sola cosa que no sea una nube. Lo son las catedrales de vasta piedra y bíblicos cristales que el tiempo allanará. Lo es la Odisea. que cambia como el mar. Algo hay destino cada vez que la abrimos. El reflejo de tu cara ya es otro en el espejo y el día es un dudoso laberinto. Somos los que se van. La numerosa nube que se deshace en el poniente es nuestra imagem. Incesantemente la rosa se convierte en otra rosa. Eres nube. Eres mar, eres olvido. Eres tambien aquello que has perdido.
jorge luis borges
untitled, 2014
untitled (details), 2014
Still presents a series of new works by Marisa Tellería in which perception and aesthesis are not only the key to understanding, but the essential subject of the artworks. These original groups of works, which mark a new formalistic approach, were created specifically for the space they inhabit, and set the course for many of her subsequent investigations. The seed for these works were planted several years ago after a turbulent period in the artist’s life, when she found herself at a crossroads, ultimately questioning and reassessing the nature of her practice. During a period of self-reflection, she found the need to unload, unburden and simplify herself, and her work, both physically and spiritually. She was “compelled to be still, to get rid of all the noise around her, to once again be one-on-one with the work.”1 This decision led her to turn away from the creation of concrete art objects. The new works have dematerialized and become transitory, they are ephemeral and short-lived. The works turn towards sensory perception itself. Tellería constructs these perception-altering structures whose form and presence waver and feint until your eyes and the rest of you become destabilized. She deconstructs the concept from the precept, liberating the objects from their utilitarian condition so they can become much more. She aims to detach the label from the object thereby releasing us from our own labels and in doing so, altering the viewers’ perceptions. She wants the viewer to relate with the fleeting impermanence of the work, to embrace the sense of reverie in the discovery, of that small moment where you notice it and then its gone, bringing awareness to the visitor of their own impermanence. This is accomplished through the absence of narrative, the reflections of the light on the surfaces, the shadows, and the invisibility of the objects, and the ever-changing optical nature of the works as you move through the space. Concerned with understanding the processes involved in how we see and perceive, and the sensory experiences attached, Tellería is interested in the play between the work, the viewer and the moment when they meet. “At this moment, the viewer becomes more aware than before that they themselves are establishing relationships as they apprehend the object from various positions and under varying conditions of light and spatial context.”2 The site-specific installations heighten visitors’ sensory responses, associations and memories by appealing to all the senses. Rather than employing representational strategies, she privileges the experiential situational based work over individual objects. Using simple, humble materials such as wire, tulle, string and wood and merging them with light, shadow, and space, the exhibition becomes a spatial and perceptual event, which has become a creative medium in and of itself. Tellería challenges the viewers’ assumptions and explores their influence on human perception. This perception is a deeply felt, embodied experience, which suggests that all our senses are involved in seeing.3 Tellería aims to resensitize people to their everyday surroundings and, moreover, to one another in a time when so much conspires against human connection. This intimate, personal art experience alerts the viewer to the latent potential for beauty in pure phenomena, as well as in worldly things. Klaudio Rodriguez Curator Frost Art Museum
1. Marisa Tellería, Conversationss with the artist, May 9, 2014. 2. Robert Morris, “Notes on Sculpture.” Reprinted in Gregory Battcock, Minimal Art: A Critical Anthology, (New York: E.P. Dutton Co., Inc., 1964), pp. 231. 3. Maurice Merleau-Ponty, Primacy of Perception: And Other Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics. (Chicago: Northwestern University Press, 1964.)
En Still, Marisa Tellería presenta una serie de obras nuevas donde percepción y sensación no sólo son clave para entenderlas, sino que, además, constituyen el tema esencial en torno al cual giran las mismas. Este agrupamiento de obras originales que representan un nuevo enfoque formalista, se han creado pensando específicamente en el espacio que las alberga, y marcan la pauta para muchas de las investigaciones posteriores de su autora. Los prolegómenos de estos trabajos se gestaron hace varios años, tras un período de profundas dudas en la vida de la artista, quien se encontró en una encrucijada que, en última instancia, la obligó a cuestionarse y a reevaluar la naturaleza de su actividad artística. Durante este período de auto-reflexión, Tellería descubrió que necesitaba descargarse, liberarse y simplificar su persona y su vida, tanto física como espiritualmente. Se sintió “obligada a permanecer en silencio, a librarse del ruido que la rodeaba, a recuperar su relación íntima y personalísima con el trabajo.”1 Esta decisión la condujo a alejarse de la creación de objetos artísticos concretos, y así, sus nuevas piezas se han desmaterializado, se han convertido en transitorias: son efímeras y, por tanto, de corta vida. Son obras que reclaman la propia percepción sensorial. Tellería construye ahora unas estructuras que, con su forma y su presencia, alteran la percepción, la “engañan” y la hacen vacilar hasta conseguir que tanto los ojos del espectador como incluso el resto de su persona se sientan desestabilizados. La artista deconstruye el concepto del precepto y, al hacerlo, también libera a los objetos de su condición utilitaria, para que puedan ser mucho más. Su objetivo es separar la etiqueta del objeto, y así liberarnos de nuestras propias etiquetas –y a su vez, como resultado, alterar la percepción de los espectadores. Es decir, quiere que el espectador se relacione con la temporalidad efímera de la obra; que interiorice y haga suyo el sentido de ensoñación que surge en el descubrimiento del instante en que percibe –instante que inmediatamente se desvanece–, y así conseguir que el visitante sea consciente de su propia “impermanencia”. Esto se logra a través de la ausencia de narrativa; de los reflejos de la luz sobre las superficies, las sombras y la invisibilidad de los objetos y, asimismo, gracias a la siempre cambiante naturaleza óptica de las obras, perceptible a medida que el espectador se mueve a través del espacio. Interesada en comprender los procesos que intervienen en la forma en que vemos y percibimos –y en las experiencias sensoriales correspondientes--, Tellería indaga sobre el “juego” entre la obra, el espectador y el momento en que ambos se encuentran. En ese momento, el espectador es más consciente que antes de que “él mismo está estableciendo relaciones a medida que aprehende el objeto desde distintas posiciones y con condiciones variables de luz y contexto espacial.”2 Las instalaciones “in situ” intensifican las respuestas sensoriales, asociaciones y recuerdos del visitante, y apelan a todos los sentidos. En lugar de emplear estrategias de representación, Tellería se decanta por las obras basadas en la situación vivencial sobre objetos individuales. Mediante el empleo de materiales básicos, humildes, tales como alambre, tul, cuerda o madera --y luz, sombra y el espacio en sí mismo--, la exposición se torna en un acontecimiento espacial y perceptivo, que, a su vez, se ha convertido en un medio creativo por y en sí mismo. Tellería desafía las nociones preconcebidas del espectador y explora su influencia en la percepción humana. Esta percepción es una experiencia profundamente incorporada y sentida, lo que sugiere que cuando “vemos” todos nuestros sentidos están involucrados.3 Tellería pretende “re-sensibilizar” a la gente con respecto a su entorno cotidiano y, lo que es más, resensibilizarlos entre sí en un momento como el presente, en el que tantas cosas conspiran contra la conexión humana. Esta experiencia artística, íntima y personal, alerta al espectador sobre el potencial latente de belleza que existe no sólo en los fenómenos puros, sino también en las cosas mundanas. Klaudio Rodriguez Curator Frost Art Museum 1. Marisa Tellería: Conversaciones con la artista, 9 de mayo de 2014. 2. Robert Morris, “Notes on Sculpture” (“Anotaciones sobre escultura”), reimpreso en Gregory Battcock: Minimal Art: A Critical Anthology (Arte minimalista: una antología ppcrítica), Nueva York: E.P. Dutton Co. Inc., 1964, pág.. 231. 3. Maurice Merleau-Ponty: Primacy of Perception: And Other Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics (La supremacía de la pppercepción: ensayos sobre psicología fenomenológica, filosofía del arte, historia y política). Chicago: Northwestern University Press, 1964.
untitled (detail), 2014
Exhibition Checklist: untitled, 2014 metal and nylon wire dimensions variable untitled, 2014 wood and acrylic paint dimensions variable untitled, 2014 wire, mesh, and tulle dimensions variable Photos by Alex Garcia
untitled, 2014 canvas, tulle, acrylic paint, and wood 12 x 12 inches untitled, 2014 canvas, tulle, acrylic paint, and wood 10 x 8 inches untitled installation, 2014 paint and string dimensions variable
Board of Trustees Albert Maury, Chairperson Michael M. Adler, Vice Chairperson Sukrit Agrawal Cesar L. Alvarez Jose J. Armas Jorge L. Arrizurieta Robert T. Barlick, Jr. Alexis Calatayud Marcelo Claure Mayi de la Vega Gerald C. Grant, Jr. Claudia Puig Kathleen Wilson University Administration Mark B. Rosenberg, President Kenneth G. Furton, Provost , Executive Vice President and Chief Operating Officer Irma Becerra-Fernandez, Vice President for Engagement Elizabeth Bejar, Vice President of Academic Affairs Pete Garcia, Director of Intercollegiate Athletics Andres G. Gil, ‘86, Vice President, Sponsored Research Sandra B. Gonzalez-Levy, Senior Vice President, External Relations Robert Grillo, Vice President, Information Technology and Chief Information Officer Jaffus Hardrick, Vice President, Human Resources Luisa Havens, Vice President of Enrollment Services Kenneth A. Jessell, Chief Financial Officer and Senior Vice President Howard R. Lipman, Senior Vice President, University Advancement; President & CEO, FIU Foundation Inc. Larry Lunsford, Vice President of Student Affairs Javier I. Marqués ’92, ‘96, Chief of Staff, Office of the President M. Kristina Raattama, General Counsel John A. Rock, MD, Senior Vice President, Medical Affairs Stephen A. Sauls, Vice President, Governmental Relations Terry Witherell, Vice President of External Relations
Frost Art Museum Carol Damian, Director and Chief Curator Julio Alvarez, Security Manager JeanCarlos Fernandez, Communications Assistant Annette B. Fromm, Museum Studies Coordinator Ximena Gallegos, Public Programming and Membership Coordinator Alex Garcia, Digital Archivist Elisabeth Gonzalez, Administrative Assistant Alberto Hernandez, Exhibitions and Sculpture Park Manager Julia P. Herzberg, Adjunct Curator Greg Jackson, Grants Specialist Debbye Kirschtel-Taylor, Curator of Collections/Registrar Jessica Lettsome, Facility Rental & Special Events Coordinator Miriam Machado, Curator of Education Mary Alice Manella, Budget & Finance Manager Alexandra Molina, Education Assistant Amy Pollack, Special Projects D. Gabriella Portela, Marketing and Communications Coordinator Daniel Rodriguez, Computer Support Specialist Klaudio Rodriguez, Assistant Curator Jessica Ruiz de Castilla, Finance Assistant Melanie Ruiz, Visitor Services Representative Luis Tabares, Security Guard Ragan Williams, Security Guard Sherry Zambrano, Assistant Registrar
Cover: untitled (detail), 2014, wire, mesh, and tulle, dimensions variable Opposite image: untitled, installation views, 2014
The Patricia & Phillip Frost Art Museum Florida International University 10975 SW 17th St., Miami, FL 33199 t: 305.348.2890 The Frost Art Museum received ongoing support from the Steven and Dorothea Green Endowment; the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture; the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor and the Miami-Dade Board of County Commissioners; The Miami Herald; Target; and the Members & Friends of The Patricia & Phillip Frost Art Museum.