lunes, 1 de diciembre de 2014

La Mujer Araña desde su Laberinto / The SpiderWoman from her Labyrinth






WALMER DISEÑO
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Instalaciones @ Murales @ Grabados



Atelier Alexander Sutulov




Los invitamos desde el mundo donde se tejen las ideas,
Como se conjugan arte y diseño en una vivencia única e irrepetible

From the world where ideas are been knitted, we invite you
In how art and design conjugate in a unique and unrepeatable experience




Desde tiempos remotos y en las culturas ancestrales más diversas, la imagen de la Mujer Araña ha sido el latido permanente del quehacer en la Madre Tierra. Con su continuo y meticuloso tejido, que se concibe desde lo más profundo de la tierra y en toda la existencia; nos permite adentrarnos en su dimensión más cautivadora que es la de nuestra propia capacidad de imaginar y materializar el futuro.

From remote times and in the most ample diversity of ancestral cultures, the image of the SpiderWoman has been the constant heartbeat of Mother Earth´s doings. With its continuous and meticulous knitting, which is conceived from Earth´s greatest inner depths together with all existence, we submerge ourselves in its most captivating dimension which is our own capability to imagine and materialize the future.

En el caso de la cultura Hopi, ubicada hasta el día de hoy en las llamadas tres mesas al norte del estado de Arizona, cuya cosmología ancestral se remonta a la última glaciación más de 10.000 años atrás; viene a dar cuenta sobre la Mujer Araña y su quehacer en el mundo moderno, cuya primera manifestación (tela de araña) fue las líneas de los trenes del siglo XIX, seguido por los cables de alta tensión como la gran represa Hoover Dam de los años 30 y para concluir, con las estelas de los primeros aviones a propulsión a chorro, después de la Segunda Guerra Mundial que surcaban los cielos de los indios Pueblo.

In the case of Hopi culture, located until this day at the so called Three Mesas, in Northern Arizona, who´s ancestral cosmology dates back to the last Ice Age more than 10.000 years ago; brings to our awareness about the SpiderWoman chores in modern world, whose first manifestations (spider webs) were 19th century railroad tracks, followed by Hoover Dam´s first high tension cable layout across the desert during the 30´s and to conclude, soon after World War II, with the first jet streams plowing through the Pueblo Indian skies.    

Esta Mujer Araña, que en el fondo, hace referencia a nuestra propia cognición, empezó paulatina y progresivamente a contraer y acelerar el mundo de manera descontrolada o lo que los Hopi denominan “Koyaanisqatsi”: vida fuera de equilibrio.

This SpiderWoman deep inside, makes reference to our own cognition, in how it began to gradually and progressively contract and accelerate the world in an uncontrolled manner, something the Hopi refer to as “Koyaanisqatsi”: life out of equilibrium.  

Es desde este precepto, que la denominación World Wide Web, nos permite ahondar aún más, como este gran tejido que adquirió una aceleración exponencial, por medio del Internet, manifestando en nuestro diario vivir patologías colectivas jamás antes vistas como: crisis de pánico, ansiedad, depresión, pérdida del sentido de trascendencia, stress y una infinidad de comportamientos erráticos que el ser humano se le hace cada día más difícil de enfrentar.

It’s from this precept that the denomination World Wide Web, allow us to deepen even further, how this great web which acquired an exponential acceleration through the Internet, reveals throughout our daily life collective pathologies never witnessed before: panic crisis, anxiety, depression, lost sense of transcendence, stress and a number of erratic behaviors making humans everyday life, each time harder to confront.  
El “nuevo tejido” es una reflexión de lo anterior, que por medio de la memoria, particularmente la memoria visual, nos permite adentrarnos en aquellas sensibilidades que permiten reconectarnos con los caminos de un mundo más equilibrado, donde el ser humano es una intermediación permanente entre el micro y el macro de la creación divina, entre lo que es más pequeño como el mundo microscópico y lo más grande como es el universo que nos rodea.  
  
The “new web” is a reflection of the above, where through memory, particularly visual memory; allow us to reengage with the roads of a more equilibrated world, where human beings are permanent intermediaries between the divine creation of the micro and macro, between the smallest dimension of a microscopic world and the biggest like the universe which surrounds us.  

Desde ahí, el porqué observamos en tantas tradiciones, los diseños más elaborados en los telares, las formas más maleables en la alfarería, los engastes más exuberantes en la orfebrería, la riqueza de color y textura en la cestería, la sensibilidad de la veta y la laboriosidad constructiva del ebanista, el temple o plasticidad en la forja y todos los oficios que conllevan a vivir la vida, no solamente desde lo práctico o funcional, sino también con un sentido profundo de lo estético (equilibrio de la forma) como una manera de apaciguar y hacer trascender el espíritu.

Reason why we observe in so many traditions, the most elaborate designs in tapestry, the most malleable shapes out of pottery, the most exuberant settings in silversmith, the richness of color and texture in basket-making, the wood grain sensibility and laborious constructability in woodworking, the tempering and plasticity of a forger and all the trades which entail to live life, not only from a practical or functional point of view, but also, with a profound sense of aesthetics (equilibrium of form) as a means to appease and make our spirits transcend.
      
Tras este mundo, existe una historia en cómo cada una de esas culturas llegó a una u otra forma, dependiendo de sus símbolos junto a sus respectivas narrativas. El registro de esa historia perduró en el tiempo gracias al grafismo. Una imagen que representa de manera sugerente o abreviada, la esencia de una forma. Desde ahí, el origen de la estampa, del ideograma, de la escritura y toda representación bidimensional que pueda contener en un solo espacio: el pasado, el presente y el futuro. Y, de todo aquello sobrenatural y de la cosmogenia, que el hombre trata de explicarse desde su precariedad.

Behind this world exists a history in how each and every one of those cultures concluded one way or the other, depending of its symbols together with each respective narrative. Its historical recording endured thanks to a form of graphism. An image which suggestively and abbreviated fashion, represents the essence of form. From there originated printmaking, ideograms, writing and all two-dimensional representations which contains in one space, the past, the present and the future. From all the supernatural and from all the cosmogony, where man from his precariousness, tries to explain himself existence.

La Mujer Araña desde su Laberinto, cuyo título presenta la obra del artista Alexander Sutulov como un relato gráfico que dialoga con el interiorismo y diseño WALMER; es donde la conjunción de ambos mundos insinúa una tercera forma, que se traduce en un hábitat, en una atmósfera que acoge y conversa con un público cautivo. Este encuentro de “diseño” como arte aplicado y “arte” como lenguaje plástico, propone al espectador, el vínculo atávico de un despertar y renacer de los sentidos en función de nuestro equilibrio y trascendencia como seres humanos desde la Creación primigenia.


The SpiderWoman from her Labyrinth, whose title presents the work of visual artist Alexander Sutulov as a graphic story which dialogues with WALMER’s interior design; is where the conjunction of both worlds insinuates a third form which translates into a habitat, an ambiance which brings together and converses with a captive audience. This encounter of “design” as a form of applied arts and “art” as a form of visual language, proposes to the viewer, an atavistic bonding to an awakening and rebirth of our senses in regards to our equilibrium and transcendence as human beings from our own primal Creation.    

martes, 8 de julio de 2014

Alexander 300 / the outburst of a metropolis

Alexander 300 / the outburst of a metropolis

Alexander 300 / the outburst of a metropolis

Trying to figure out why certain things work and others become part of a compendium which amounts to the potentiality of becoming that which was apparently left behind… and yet engenders a series of possibilities where time can only determine substantiality.

A swirling pool of ideas taking into account, it’s the mere action as a form of abstraction, particularly from time. The origin of language can be comparable in how the building blocks of nouns and adjectives through the conjugation of a verb can circumscribe a new beginning, the genesis of an idea.

A starting point has been thought-out in how to catapult a series of visions. Three hundred visions to be precise have been carefully sequenced in order to convey a predicament that represents in the long run, an element of resistance to predominant external forces. Forces usually identified with a mainstream where “traffic of influence” is the leitmotif of sorts inducing to what I consider unattained confusions. Most certain, is how applied arts have been purposely confused with fine arts! Falling in the danger of shifting predictability with unpredictability and even worse, functionality with transcendence…

From the time of the Punic Wars to the emancipation of the Hellenic Period, a constant ethos was sustained originally embraced by 300 souls whose sacrifice at the Battle of Thermopylae led by King Leonidas I 480BC, determined to a great extend the tenacity of what came to be to a large extent Occidental Culture!

Tenacity galvanized by Alexander the Great who stressed and put forward the idea of transculturation, where even today, more than two millenniums after the fact; he is still referred by to those cultures he affected as: “Alexander the Macedonian”. This level of eclecticism is light years away from current societal homogenization where everything has become a concept of design as part of a franchised business model! Nothing, not even anything manages to escape from its tentacles, even exuberant expressions associated to city planning like Dubai falls under the curse of franchise entrenchment, not to mention predictability.

The above is a sad reflection why great cities in cotemporary terms: Tokyo, Shanghai, Hong Kong, Moscow, Berlin, Paris, London and New York all start to look alike from the perspective of an elite consumer who is satisfied with the same flavor and seduced by the same aroma. In fact, one shouldn´t be surprised if they turn out to be the same person or affiliation in every city!

Nevertheless, as in all things, trends obey to a pendulum movement. An oscillation which facilitates the opportunity to strike back very much like Alexander´s hammer and anvil tactic of cutting through a dissipated flank. Napoleon who was thought to be invincible fell for the same by overextending his flanks at Borodino with a Russian army which was outnumbered three to one!

To question ourselves over and over again, what is that thing we are striving for can be part of a permanent devastating landscape even if for the majority is something completely unnoticed. Comes to my mind how certain models are been delivered as something fresh and innovative, when the palpable reality is a rehash for the twentieth time version of some Barcelona Pavilion or Bauhaus reminiscence or any derivative as a reiteration of the same over and over again! Nothing wrong with Walter Gropius, it’s just the mere feeling we need to urgently move on…

In the case of Latin-American capitals, certain references have been resumed where cities like Mexico City or Buenos Aires give lead way to a pre-Hispanic model intertwined with a Viceroy in the case of Mexico and a colonial abundance forecasted with a strong European migration in order to conceive the prospect of a city like Buenos Aires. Poles, north and south have been the cultural melting pots which reflect upon an insular western city like Santiago, Chile.

Our concern are what decisions can be made in view of a city as insular it might be surrounded by the Andes mountain range from the east, the Pacific Ocean westward, topped by northern Atacama desert and embraced from the south, by Patagonia’s cold rainforest archipelago, is literally pushing itself to a business center appealing standards of living differentiated from the dominant northern ring.

This counterpart of a southern projected globe like Nicolas Desliens 1566 upside-down world map appears to be a shift from the stereotype and hopefully, the already identified encasements of globalization. Many challenges lay ahead with a required new dialogue on interior and exterior habitat. The sustained increment of commercial districts like La Dehesa, Nueva Las Condes, Vitacura, El Golf and Costanera, are been filled up with class A buildings while the traffic congestion is coming to an alarming tenfold in the past 40 years from 150.000 to 1.6 million at a 5.6% growth rate.

Some of the answers are part of a reciprocal branching out from the city to regional Chile, not only from the assumption of decentralizing Chile´s 40% population density in its metropolitan area, but also, intrinsic value associated primarily to the nations geophysical dimension and its implications in the realm of a future environmental economy.

The idea of green great estate investment like Douglas Tompkins Pumalin Park in Northern Patagonia or an ever growing boutique model hotel industry is captivating not only the imagination of Chileans, but a series of foreign entrepreneurs who foresee Chile as a quite promising destiny. In return, a sentiment of identity and sense of belonging is clearly a differentiated added value which can be reflected for example upon large commercial spaces in the form of permanent public installations or more intimate interior space installations for captivating working and/or residential spaces.

In this respect, Alexander 300 is a particular glimpse of what is, how it relates by contrast and how we conceive the virtues of a future prospect of what could be… I leave to the spectator foremost, the prerogative if time is still in our hands and how the necessary empathies can be established through the eyes of the beholder.


Atelier Alexander Sutulov
Santiago del Nuevo Extremo
July 2014