Transposition

In 1980 the researcher and mathematician Yves Chevallard dictated his first course about didactic transposition with this concept notions such as the didactic system, didactic contract, conceptual scheme and didactic ingenery among others were integrated. For this reason, the discursive axis of this curatorship has appealed to the methodology of the transposition of wise or highly specialized wisdoms to wisdoms of experience. Knowledge needs to be dispersed and inoculated, therefore the diffusion of an enlightened wisdom must be modified, so that it is understandable and accessible to other researchers and to the society where it is transmitted. In Colombia the restructure of teaching methods and the exchange of knowledge is imminent in order to execute an adequate economy of knowledge exchange.

In this project the arrangement of the pieces in space and the series gathered try to offer an overview of some of the gestures that have characterized the different stages of Mario Vélez's creative production, who in 30 years has managed to construct a pictorial dialectic and from this experience turn towards sculpture and installation. This way, Gustavo Niños’ and Santiago Torres’ artworks add dynamic elements that approach other ways of understanding abstract painting.

From:
February 13, 2020
To:
April 10, 2020

In 1980 the researcher and mathematician Yves Chevallard dictated his first course about didactic transposition with this concept notions such as the didactic system, didactic contract, conceptual scheme and didactic ingenery among others were integrated. For this reason, the discursive axis of this curatorship has appealed to the methodology of the transposition of wise or highly specialized wisdoms to wisdoms of experience. Knowledge needs to be dispersed and inoculated, therefore the diffusion of an enlightened wisdom must be modified, so that it is understandable and accessible to other researchers and to the society where it is transmitted. In Colombia the restructure of teaching methods and the exchange of knowledge is imminent in order to execute an adequate economy of knowledge exchange.

In this project the arrangement of the pieces in space and the series gathered try to offer an overview of some of the gestures that have characterized the different stages of Mario Vélez's creative production, who in 30 years has managed to construct a pictorial dialectic and from this experience turn towards sculpture and installation. This way, Gustavo Niños’ and Santiago Torres’ artworks add dynamic elements that approach other ways of understanding abstract painting.

To arrange this curatorial exercise we must refer to analytical abstraction in painting (Analytische Malerei), a term conceived by the historian and art critic Klaus Honnef in 1974. A pictorial movement that covered Italy, Germany, France and the Netherlands. These origins of emplacement allow linking the methods of thought that each artist seeks to transfer to his works and are also the gestures that materialize in the pieces here installed.

A significant component to emphasize of this exhibition is the method that each artist incorporates in their creative practice, where the exploration of the expanded possibilities of painting is a common denominator and catalyst. For this reason the processes displayed in this exhibition are characterized by a meticulous way of distinguishing the pictorial material and its respective physical qualities, for example the viscosity of the pigment and the stratification of color serve as forms of expression that converge in divergent discourses. In the series "Desafiar el Caos" Mario Vélez applies the color of gold not only as a precious material, but also describing its symbolic meaning as a vital and metaphysical element that can transcend to perfection. For Gustavo Niño the unstable forms, the exercises of opposing colors and mixing them randomly with mediums of serigraphic reproduction, become a way of resolving the textual and academic tradition of abstract painting. On the other hand, we find the chromatic experiments of Santiago Andrés Torres that allow him to express the result of his experience as a mediator of peace and conflict, proposing a revision of the paradigm of inclusion / exclusion of beings and wisdoms of the Colombian indigenous communities, among these pieces: modular mushrooms stand out.

This analysis profile where painting functions as a bridge of transit to different areas of knowledge is an intrinsic research element of each artist and is clear in their body of work. This indicates that through painting we can access broader conceptual dimensions than just the pictorial practice itself. We can understand painting as a methodology to exercise the mind and establish conceptual relationships with discourses outside art history.

The transposition of moodiness and the persistent ways of analytical abstraction that these artistic practices have drawn, result as a transcendental component to be observed and analyzed by our society, if at this moment the relevance of creativity, of the transcultural and the diversification of knowledge is being discussed to make us a civilization consistent with the dynamics of the 21st century. The participation of art and its methods of transmitting, materializing and expressing concepts should be a policy of knowledge, which would be also pertinent to incorporate in the teaching programs of different disciplines. Aspiring for each individual to discover their intellectual sensitivity should be one of the pillars of culture, to secure an egalitarian and progressive society in the context of the so-called fourth industrial revolution, which is characterized by building capital from transdisciplinary knowledge.

Curator: John Ángel Rodríguez.