Crossing the sea to go below the surface

Have ideas, will travel
By KEN GREENLEAF  |  February 20, 2013

art_Bertone_TOTEM_main
‘TOTEM’ Mixed media by Eduardo Bertone, 2012.
The world is, as Tom Friedman has noted, flat, which doesn't take much label-reading to ascertain. What have you bought recently that wasn't made overseas?

But place is place, and Madrid ain't Portland. "This Flat Earth/Esta Tierra Plana" at Rose Contemporary invites consideration about cultural thinking and artistic exchange as it takes place at the personal level, distinct from industrial, commercial, or even diplomatic channels. This is visual art's great value — it's individuals who matter, not institutions. The message is the mediators, not the medium, and what we learn is, at its essence, conveyed from one person to another.

"This Flat Earth/Esta Tierra Plana" is an exchange project among artists based in Maine showing in Madrid with a number of Spanish artists, and the same people subsequently showing in Portland. It was co-organized by Jeff Badger of Portland-based Tetra Projects and Madrid-based Rubicon1. The group of works appeared in Madrid at Embajadores con Provisiones in January, and is in Portland at Rose Contemporary through this month.

For thematic as well as practical purposes the artists were asked to use the same size paper, A3, about 16.5 by 11.5 inches. They are more or less about a here-to-there cross-ocean idea, with a dash of thinking about colonial history and seasoned with them-and-us comparisons, but at the heart of the project it's simply a fun thing to do that informs because it's art. The works are done because the artists are doing what they like to do, and the content conveyed is secondary, sometimes purely notional and sometimes non-existent. The messages are encoded not so much in what is depicted, but rather in the personal experience of each viewer with each work.

The people are, from Spain: Irene Blanco, Eduardo Bertone, Zuzia, Sabek, Ruina, Pincho, Zé Carrión, rHo, Borondo, Seann Brackin, Rubicon 1, RBN, Ciril23, Chylo, Toño, and Dingo Muto Perro; from Maine: Kyle Bryant, Kenny Cole, Colleen Kinsella, Carrie Scanga, Jeff Badger, Justin Richel, Irina Skornyakova, Kimberly Convery, Anne Buckwalter, and Cassie Jones.

"Flat Earth" in this context means that the art world, and the ideas that drive it, is no longer confined to a locality. The old "Paris then and New York now" paradigm is gone, fled like the transoceanic steamer and its stickered trunks. While one can discern sensibility distinctions that might be characterized as "Spanish" or "Maine-ish," technically and conceptually they could be from anywhere. The world is flat.

art_JRichel_UneCatastropheP
'UNE CATASTROPHE PASSANT À L'ATELIER' Mixed media, gouache on cut paper and ink jet collage, by Justin Richel, 2012.
There was a schoolboy canard in my youth that asserted that Columbus, while selling his India project to the Spanish court, declared the world was round, while others believed it was flat. Not true of course: In the 15th century anyone with any sense knew it was round, although Columbus had underestimated its circumference and his error gave him courage. There's a reference to the unfortunate admiral and his little fleet in the poster for this show, anachronistically appearing near a shoreline with a Maine-like lighthouse on it. The world after Columbus flattened out, but the technology for five centuries or so afterward put severe limits the transfer of ideas, goods, and diseases. Travel and communications were difficult, slow, dangerous, and expensive. Today they are easy, fast, safe, and cheap.

Thanks to high-speed communications and digital imaging, everybody can know what everyone is doing, anywhere. Galleries are much alike, no matter where they are. But there's still an important reason for shows to travel. It's not just the ideas that need to move. To really experience what a work does, you need the thing itself.

1  |  2  |   next >
  Topics: Museum And Gallery , Kyle Bryant, Irina Skornyakova, Colleen Kinsella,  More more >
| More


Most Popular
ARTICLES BY KEN GREENLEAF
Share this entry with Delicious
  •   JEFF EPSTEIN’S INTIMATE PAINTINGS OF THE EVERYDAY  |  October 30, 2013
    Jeff Epstein’s show is a group of small paintings in a small room at the end of a small alley in Portland, but it opens questions that are valuable and substantial.
  •   WHAT WE CAN LEARN FROM FREDERICK LYNCH AND WILLIAM MANNING  |  October 03, 2013
    Both Frederick Lynch and William Manning are in their late 70s, both have taught others, and, more important, both have had a consistent arc over their long working careers. You can spot and identify works by either artist from a distance.
  •   JEFF BADGER LOOKS UP, DOWN, AND ALL AROUND  |  September 06, 2013
    The show is largely works on paper, and mostly funny and sometimes a little creepy, and often both.
  •   EXPLORING A MASSIVE EXPANSION AT COLBY’S MUSEUM  |  August 08, 2013
    The Alfond-Lunder Family Pavilion at the Colby College Museum of art, just opened, has added some 66 percent to the museum’s existing exhibition space, to a total now of some 38,000 square feet. With the gift of the 500 or so objects from the Lunder Collection, it means they can fill the space without breaking into a sweat.
  •   A SHOREWARD LOOK AT MAURICE PRENDERGAST’S CAREER  |  July 10, 2013
    Maurice Brazil Prendergast (1858-1924) has been something of a problematic figure for those of us who grew up in the long shadow of modernism.

 See all articles by: KEN GREENLEAF