SUBSTANTIAL EQUIVALENCE, 2018

Single-channel video installation
Found footage
07’47”
[pre-selected for the LOOP Discover Award 2018]

 

 

Video still

 

 

Synopsis

Based on the concept of Substantial Equivalence* this project creates a parallelism between the life cycle of a genetically modified tomato crop and the life cycle of the human being gestated in vitro. Both cycles begin in the laboratory and each stage of their lives respond to the laws of a system of artificial selection that creates organisms adjustable to the requirements of the capitalist market. This video uses documentary and institutional footage to denounce the dictatorship of the monopolistic biotech companies that threaten food sovereignty, our health and, above all, the life of nature. Greedy for power, these companies manipulate natural life cycles by creating sterile seeds as immune to their dangerous products as to nature itself. Thus, we become consumers of harmful food that makes us mentally and physically sick. As a result, we also become consumers of the medicines that these same companies manufacture. Acting with the impunity of the dollar policy and indifferent to sustainability, biotech companies subject both nature and human beings to stock market transactions destroying, under their own license and legislation, natural life cycles in a ruthless, alarming and irreversible way.

*The concept of Substantial Equivalence holds that the safety of a new food, particularly one that has been genetically modified (GM), can be evaluated by comparing it with a similar traditional food that has proven to be safe to consume over time. This principle was formulated for the first time as a food security policy in 1993 by the Organization for Economic Cooperation and Development (OECD) who authorized the commercialization of the genetically modified tomatoes Flavr Savr created by the company Calgene, later acquired by Montsanto, nowadays part of Bayer.

Only 25 years after the principle of Substantial Equivalence was approved, the genetically modified acreage increased from 1.7 million hectares in 1996 to 185.1 million hectares in 2016, representing more tan 12% of the global cropland today.

 

 

→ Related links:
LOOP Discover Online channel
Watch on Vimeo

OBTAINING THE RIGHT COLOR, 2018

Created with Anna Irina Russell
Collective action and installation
Dough for bread and food colorants
[Sâlmon Festival 2018]

 

 

Bacchanal SÂLMON< consisted of a laboratory around Paella that was created for the 6th edition of the Salmôn Festival. This paella-party gathered people of all ages in a stage-less shared scene, as if a communal ritual renewing its sacraments around this popular dish. In fact, that’s the soul and spirit of the party: to sit around the paella pan and enjoy the moment while the dish is being cooked. This cooking time moment is until today a reference of the way we used to experience singing and storytelling before the industrialization of culture. For this reason, the Salmôn Festival created a program of activities to explore how the paella experience can be used as a tool for social and scenic research.

Commissioned by the Salmon Festival, Obtaining the right color was created as an action that explores how visual perception influences our eating behaviors. Bread, as the basic food of every diet and faithful companion of each dish, becomes a game of colors and shapes utilizing the very popular Paella colorant Dani. In this way, bread becomes a meeting point in which, without previous indications, the participants of the Paella Laboratory must decide if it is part of the prop or if it is edible, and if so, how it’s distributed. A second element, this time in the form of a game, invites participants to touch, interact and play with the display they are in, experimenting with the visual value of the food and the decision of what is and what is not edible.

 

Paella Laboratory by Compartir Dona Gustet

 

 

Paella Laboratory, Fabra i Coats 2018

 

 

Rice ritual

 

 

Obtaining the Right Color, 2018. View of the bread installation

 

 

Paella with Baccanal bread

 

 

Baccanal bread lovers

 

 

Edible petanca

 

→ Related links:
Festival Sâlmon
Anna Irina Russell

ETAT SECOND

Series of paintings

 

Etat Second (French for Second State) was a concept used by the Argentinian writer Julio Cortazar to describe the state of mind which mixes abstraction and concentration at the same time, to his moment of maximum creativity.

The project Etat Second stems from the pursuit of the sublime that reveals the language of the cosmos through the contemplation of nature. The ambition of this unrestrained pursuit is to transcend the being by disintegrating thoughts, feelings and preconceptions thus flowing with the universal language where everything comes from and converges; in order to unveil the essence of those shapes that precede concepts and exist regardless of time and space. Driven by perpetual thirst, the spirit of this project surrenders to the devouring and embracing brushstrokes. Created universes emerge in the movements, sensations and vibrations that expand into the large canvases. The paintings, free of vices, create timeless spaces and shapes defined by atmospheric and hectic brushstrokes that breathe in the strength and simplicity of color.

 

 

Duality: The Origin of Everything, 2015. Oil on canvas. 200 x 184. Private collection, USA.

 

Untitled, 2014. Oil on canvas. 105 x 95 cm

 

Domesticating Force, 2015. Oil on canvas. 200 x 185 cm

 

Desert, Desolation. Vision of Light. Oil on canvas. 180 x 120 cm. Private collection, Cyprus.

 

Revelations, 2014. Oil on canvas. 200 x 124 cm. Private collection, Canada.

 

Fog, Illusion of Light (2014). Oil on canvas. 125 x 77 cm. Private Collection, New York, USA.

 

 

Peaks, 2014. Oil on canvas. 185 x 110cm

FESTIVITY – SLAUGHTER, 2014

Multimedia project
Painting, mixed media, sculpture, sound installations
[ Espai Angram, Barcelona 2018  /  Piramidón Centre d’Art Contemporani, Barcelona 2018  /  Palau Alòs, Barcelona 2016  /  Festividad Masacre, Barcelona 2014] 

 

 

 

In the project Festivity-Slaughter Natalia Carminati reviews the idea of ​​Hispanic from an old colony of the Spanish Empire. In the midst of the conflict between Catalonia and Spain, They will be Pierced and Stabbed to Death allows to examine what’s Spanish from two contexts as diverse as the Latin American and the Catalan. The opening coincides with the Spanish festivity celebrated every 12th October throughout the Spanish-American territory in memory of the Europeans’ arrival to American lands. Known as the Ethnic Festivity until 2008, this day is an example of how a neo-colonial discourse perpetuated unequal power relations.

In Festivity-Slaughter, Carminati appropriates the bullfighting world to reflect on neocolonialism, socio-cultural imposition and historical and current events from a critical, iconic and political perspective. This series of paintings creates a new vision on scenarios that show the fervor of festivity as a simulacrum of cultural slaughter. The work Civilization, a Latin American edition of the Holy Bible “dressed” with a light suit, becomes a metaphor of the evangelizing mission that led to the slaughter of indigenous beliefs and cultures through cultural imposition.

by Gisela Chillida and Jordi Garrido

 

 

 

To the Indies, 2014
Sonorous installation, audio: 0:40”
Wood, red paint, acrylic, metal handle, bull horn from Pamplona
119 x 124,5 x 9 cm 

 

COLONization, 2013. Acrylic on canvas. 101,5 x 53,5 cm. Private Collection, Spain.

 

 

Festive Slaughter, 2013. Acrylic on canvas. 100 x 50,5 cm

 

 

They will be Pierced and Stabbed to Death, 2018. Banderillas, political world map.

 

 

They will be Pierced and Stabbed to Death, 2018. Banderillas from Pamplona, political world map.

 

 

Cuitláhuac, amidst many others, 2014. Acrylic on canvas. 124 x 62,5 cm

 

 

The Golden Age, 2014. Acrylic on canvas. 116 x 60 cm

 

 

Atahualpa’s Execution, 2013. Original poster by José Puente, acrylic. 88.5 x 46 cm

 

 

Gate to the Underworld, 2014. Wooden door, plastic paint, original bullfighting posters, acrylic on canvas. 191 x 72,5 x 3,5 cm

 

 

Civilization, 2014. Latin-American Holy Bible covered in a Suit of Lights

 

 

Civilization, 2014. Detail of the installation

 

 

Popol Vuh
Popol Vuh, 2014. Bullfighting posters, ink, watercolor and acrylic. 50 x 70 cm. Private Collection, Spain.

 

 

 

 

Dead Languages of America, 2014. Coffin: wood, dyes, varnish, handles. Interior of coffin: red velvet, wadding, wooden cross, gold paint, clay tongues (x 42). Cloak: red and yellow wild silk. 35 x 18.11 x 7.8 in

 

 

 

Dead Languages of America. View of the installation, Espai AnGram 2018

 

 

→ Related links:
Andres Hispano
Gisela Chillida
Jordi Garrido
Revista Mirall
Daniel Gasol

 

→ Press:
Bonart, Natalia Carminati opens exhibition season at Espai AnGramby Gisela Chillida and Jordi Garrido
Interview with Andrés Hispano, Review of solo show Festivity-Slaughter
ACCA, A project about the (re)colonization of LatinAmerica by Daniel Gasol
masdearte.com, A project about the (re)colonization of LatinAmerica by Daniel Gasol

 

La implantación del “saber”: un proyecto sobre la (re)colonización latinoamericana
por Daniel Gasol

 

La transformación cultural que sufre el ser humano de forma cotidiana es el resultado de centenares de escenarios que definen la identidad cultural. Debemos prestar atención a las situaciones que se nos presentan para  autodefinirnos como sujetos en un mundo lleno de incertidumbres, desde nuestra herencia histórica, hasta nuestro contexto inmediato.

El caso Latino-americano, demuestra cómo la “herencia” cultural se ha visto definida por roles de poder simbólico, que conforman un tejido social e historicista, que se define y se conjuga mediante ideas y situaciones anteriores, construyendo una identidad nueva que elimina la anterior. El colonialismo como tal, jugó un papel, y sigue jugando, una función importante en la idea de identidad, una identidad construida a partir de sangre y matanzas, de disipar culturas, lenguajes, formas de vida, formas de identidad.

No obstante, el retrato posterior sobre la idea de colonialismo, se maquilla sobre una base llamada “Nuevo Mundo”, sobre un carácter de imágenes españolizadas, tanto en formas como en conceptos teatralizados, en fiestas simbólicas que paradójicamente, usan el rito de la muerte y la vida, de la sangre en la arena que simboliza el poder y el esfuerzo, la lucha por la supervivencia.

Tales imágenes forman un velo que embellece la realidad del individuo nativo, una realidad muy distinta a los pacíficos encuentros entre nativos y colonizadores, donde el conocimiento parecía recíproco. Muestras de afecto, intercambios de conocimiento, de formas de ver el mundo, todo, ante una jerarquización de sociedades que posicionó la “malicia” española ante la “inocencia” nativa.

El concepto y acto de colonización sigue vigente de una forma u otra. Tras el historicismo asimilado por parte de la comunidad Latino-americana, la perdida de cultura y lenguas (por tanto formas de comprender la realidad, retratarla y relacionarse con la misma), la idea de colonización “silenciosa” esta presente. Después de los vestigios que puede enmascarar una invasión histórica,  el recorrido “natural” de la misma sigue en acontecimientos basados en generar una identidad cultural dominante: una que dicta, otra que obedece. Como la jerarquización de las culturas se hace vigente a través de el comportamiento social, basado en posturas políticas y (re)creaciones de realidad mediática, el caso, del (gran) conocimiento Latino-americano desaparecido y desapareciendo se hace palpable de forma invisible. Una (re)colonización con las mismas características: matanza de una forma de pensar, de una forma de ver, de tradiciones y una implantación de necesidades ficticias que tienen como finalidad estandarizar modelos de existencia.

“Festividad-masacre” nace del paralelismo de la ceremonia como símbolo social, y de las formas alegóricas del colonialismo, (re)creando una nueva visión oculta sobre escenarios que muestran desde la festividad, otras realidades mas sangrientas, ocultas bajo figuras ovacionando victorias en ceremonias populares que homenajean la vida, la fuerza y la muerte.

A partir de la tauromaquia popular, Natalia Carminati, construye un proyecto lleno de capas de significado, formado por trabajos pictóricos e instalaciones que demuestran el fervor de la fiesta como el simulacro de una matanza cultural, (re)contextualizando la cultura popular y su gráfica para configurar obras a primera vista agradables, no obstante repletas de dolor, de muerte, de clases sociales y de pérdidas forzadas de identidad.

El proyecto elige el dolor como parte de una cultura construida desde la base de la imposición cultural y social, que da como resultado una jerarquía nacional y una cultura nativa destruida y reformulada como parte del acontecer histórico, una forma de asimilar hechos desde una perspectiva simulada, icónica y política.