EUGENIA GUDIÑO (Chihuahua, MX, 1981-) | SPERRMÜLL | BASURA

OPENING Saturday August 15th (12-15 hours), 2009
Until July 31st, 2009

 

With her recent work, Eugenia Gudiño has begun to define herself as an artist who concentrates on the affective content of objects located on the crossroad between rootlessness and memory. Her most interesting projects stem from such sensitivity which connects her to the things of others, with foreign spaces and with wastes, which also are alienated objects. She is elaborating such concepts as symbolic references of the journey and of not belonging, where photography is a cultural practice that is related to the foreigner’s experience, with tourism or migration, with fugacity and transit.
In Casas para llevar (Homes to Go) (2008) such vocation found a well articulated resolution that consisted in taking pictures of people exhibiting personal objects, as an answer to the author’s explicit question: What objects do people take with them to remember their home? This series was complemented with Otro Lugar (Another Place), in which Eugenia made minimum interventions that modified the space’s order, narrating how one place always seems different to someone returning from a journey. Both series were complemented with the project Casas ajenas (Foreign Homes) which right from the title suggested the author’s interest on that double identification and alienation process that occurs in regard to different spaces: the space of transit, the space of destination, the space of one’s own, or the alien space.
The Sperrmüll series leads this statement to a more lyrical level when useless objects are presented as beautiful objects. Here, the aesthetic effect does not depend as much on the surreal resource of the “found object” that imposes its presence as a beautiful gesture in itself; it rather complements that presence with an organization of the forms, where the author’s preference for certain compositions, certain angles, chromatic associations and recurring textures is exposed.
This work can be associated with a series of photographs titled Montaña azul (Blue Mountain) (2006-2007) which had its origins when Eugenia decided to accumulate pieces of rubber, plastic and poly foam in her own home, while she lived in Germany, in what she describes as an attempt to take landscape to intimacy. The photographs documented the creation of this “pile” of waste in the artist’s bedroom, but they also registered the gathering and dragging of waste as processes that have in themselves something of a ritual.
In Sperrmüll looking is also a way of owning the waste of others, as well as getting involved in their lives. A reflection is thus generated that has to do basically with the foreigner’s experience, which in the last instance constitutes the conceptual center of this work.

By Juan Antonio Molina (translated by Leticia Consuegra) 

 

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