PRESENTATION OF SILVER
And setting SCULPTURAL

The Following text was written by Lutz Podolski

 and translated by Google:

I want to create a set of images that reflect the Orinoco River as the axis of penetration of the intruder (the conqueror, the pirate, the search of El Dorado, mining, metallurgical holding company etc.), And to express the mutual impact between this jungle world, mysterious, primitive, and prejudices and ambitions of this intruder, his superstitious thinking, "mythical", will try at all costs "rationalize" (civilize, Christianize, to encourage progress), the hostile jungle, multiplied in ethnicities and languages, challenges to survival, which go beyond the limits of their imagination. This enormously destructive impact, but is intended to create a new imaginary world that does not correspond to reality penetrated nor will obey the original structures of the intruder, but the result is this world history, this reality that we are part . In this sense the images seek to awaken in the viewer's memory anarchically a mythical substance governed by the establishment of the gambling laws of the Old World, leading to tension force which is the resonant drama and definition of our condition.

The Adventure of the submission or the exploration of the jungle has on all his players a profound disturbance in which the alleged civilizing agent ebriedades dips imperceptibly unknown blur the way back, and the native design bury her in a maze dark region can not reach or be decrypted or deleted.

The idea is to present text and images that reveal the meeting between the intruder predator, which comes under the ideal of civilization and progress, and an amazing country, absorbent, populated by unknown beasts and indigenous cosmogony doomed to own a foreign concept almost inhuman brutality. The texts are sources (original), testimonies of explorers and exploiters of the river through the story, which would inscribed on slabs along a scenic shore. In the course of the river itself will sail a small boat (the ship of penetration), with a statue, half man, half beast, robotics, which represents the intruder, the seller of slaves, the personification of the act of depredation, hostility towards the live and their right to be different ... and cruelty. Dance is established between tamer and tamed, between victim and offender, and the steps follow one another: the dumbing down of rationalizing the defeat of the Indians, the failure of progress, the sabotage of the subject, the mentality devoid of commitment adventurous conquest: "I, I fortune and return" (although, oddly, almost none back). Part of the body of the sculpture is made up of hoses, in turn, are elongated and stretched as far out of the boat entering the river, like sucking life. The whole canoe sculpture also contains elements of predation, such as weapons, chains, chainsaw, bottles, barrels, etc.. This atmosphere would go to strengthen by a soundtrack of indigenous ritual sounds, plus sounds of the jungle and water.


Given this scene, at the opposite, a selection of jewelry would mine on poles (crosses), which express the result of this syncretic culture of terror and beauty. In general it can be produced to explain that the gold ornament, a symbol, usually vain, status, luxury, power, etc.. But this art can also exalt other characteristics of a person as belonging to a group, a beauty, a spiritual state, or any particular form of energy, and it can invest in the same effort and magical craft than cultures destroyed by the predator, which inevitably adds laden son the whole story later. And likewise a jewel, or a set of jewels, which are able to express in images a central content of a culture, some history, some geography. These images, dating back to the protrusion of this relationship as old, must be located in our own current human geography to explore the question: What does the Orinoco to do with us? What extent are remote or ancient forest laws that governed their original condition?


I think in the Orinoco sudamazonica result of this process the predator is still fresh, and is easily noticeable in the mentality of its inhabitants. Developed in Venezuelan society, however, the amalgam is much more complex. The intruder has become a man respectable social status. And the "Indian irrational" Creole is an official government. In this environment, the search or recognition of the resonances of this penetration is equivalent to an adventure of self-exploration in which the artwork, not rational, you can press many hidden areas, on the state of affairs, and his exploration into of this proposal, I quote the final two chapters of "The Wild speech" by JM Briceño Guerrero (THE LABYRINTH OF THE THREE Minotaur, Monte Avila Latin America. 1993):

"RESIDENT"
"As for my residency, I boast of having many mansions. Not only inhabit the "Indians" and "black" and all brown graduation, but also second and first Europeans to America and, especially, to those who hate me because they can not expel me from his own heart. "
"I hate the constant exercise of power. I take it by assault just suddenly stop certain actions, introduce disturbances, dazzle with revelations primers, and then retire to my chambers to wait, where visceral joy of existence, digest my poison and lick my wounds. "

"Dabbling FINAL"
"The West did not America feels more closely related to lizards and stones with the second reason. Is labile, elusive, omnipresent. It takes unwarranted license with the language to make unnecessary word games besides ugly and incorrect. Contradicts cheerfully. Are we seeing another mask? Do not express with symbolic ambiguity somewhat less respectable and more dangerous than the rebellion of the oppressed? Do not pull the strings and some will nameless dread?

"Maybe"
"But we would enter, if not ineffable, at least in clinching."
"There are secrets that can only be revealed in full communion of two friends during some form of intoxication but that experience left only vague memories. Or between two enemies in the lucidity of combat to the death or orgasm. "
"Apart from that abyss, however, be said without embages: Westerners are, of course."

Ultimately, the issue I want to work is the subjugation of the ideas under the power of an unknown nature, and the failure of positivism to the presence of terror and beauty. Expressed in literary terms, it is much more than the experience of "The Maelstrom" Eustachian Rivera, that of "Doña Bárbara" Romulo Gallegos. "