“Yeni and Nan”的意思、由来-开放百科全书

The reflection on the female body and nature, the use of video and photography, Land-Art and performance are some of the concepts and materials that come together in the work of Yeni and Nan. Their performances handled concepts such as freedom, nature and the female body, with the aim of "showing another look on the woman's body, of a poetic, philosophical and symbolic form, but also political.

Education

(Yeni-Jennifer Hacksaw) studied at the Cristobal Rojas School (1975-1977), the Central School of Art and the Chelsea School of Art in London (1977-1978),the School of Image in Cannes, France (1978-1980) and the Workshop of Experimental Cinema with the filmmaker Alfredo Anzola (Caracas 1980) from 1979-1986. (María Luisa González), better known as Nan González studied at the Cristóbal Rojas School (1974-1978), studied photography in Cannes (France), and cinema in Caracas (1979-1980). ^[9]

Notable Works

Developed Bodily Actions of the Cycle of Life

Yen and Nan are best known for their developed bodily actions on the cycles of life, such as births and transfigurations, and also on the elements of nature; water; earth; and air. They made, in turn, events where they involved the natural landscape of Venezuela, as in "Salinas de Araya," one of his most emblematic works that also inspired the feature film by Margot Benecerraf. In the seventies and eighties, the duo coincided in Venezuela with other creators of performances that worked the rituals of the national being, communication, passion, and violence.^[10] Yeni and Nan, along with Antoinette Sosa, were the only women of that group of creators so significant for the time, and gave more space to the processes of the inner life and the psychophysical transformations of their anatomies, acting with self-centered and meditative intensity to recreate very slowly the internal and external rhythms in their bodies, influenced by martial arts, psychology, theater, dance and cinema. In the early 1980s, their work Integraciones en Agua (Integrations in Water, 1980) and Transfiguracion elemento tierra (Earth Element Transfiguration, 1983) challenged the conventions and traditional forms of art using their own bodies and senses in action as avenues of aesthetic representation in the search for direct, sensory and participatory art.^[11]

Unlike other artists whose work addresses sociopolitical issues and social denunciation, Yeni and Nan present collections related to the innermost being, approaching the body. According to María Elena Ramos, curator of some of her exhibitions, the works are a "support at the same time ecological, plastic and poetic."^[12]

In 1980, with the body as a central element, Yeni and Nan present Presences and Art Artist (GAN), metallic skeleton of a cube with which they sought to express through the language of gestures and movements, the unification of the internal space that is desired to break to achieve the liberating experience of outer space. In 1981, with Integraciones en el agua, they participated in the XVI Bienal de São Paulo. On that occasion, the performance allowed him to assemble a visual, sound and tactile language. That same year, in the "Colloquium of non-objectual art" organized in the Museum of Modern Art (Medellín, Colombia), they present themselves with their Action dividing the space. In 1982 they performed the performance Integraciones en el agua in the areas of the GAN and represented Venezuela in the Biennial of Young Artists of Paris (Museum of Modern Art of the City of Paris) with contemplative Integrations and Water Integrations II.

In 1983, in the Alternate Space of the GAN, they installed their video-performance Transfiguración, element tierra in the framework of the collective exhibition "Autorretrato. The artist as object-subject of art ". In 1985, in the III National Salon of Young Artists of the MACC (consecrated in that edition to the installations), they participated with Man and salt, work with which they obtain the first prize. This same expanded installation was represented at the La Rinconada Art Museum (Caracas) under the title of Symbolism of crystallization: man-salt II, the last proposal made by Yeni and Nan in the framework of the exhibition "Nature in three times." ^[13]

In April 2010, they presented at Faría + Fábregas Galería a conceptualist sample consisting of a group of photographs, polaroids, and videos that record the central performances and actions developed by the artists, entitled "Water, salt, land (Bodily actions 1978 / 1986) ". The exhibition presents a selection of images of some of the artists' bodily events. Through the metaphor, his gestures of immersion in the water give an image and memory of the natural cycles of origin, and his slow movements refer both to the extent of the seas in which life arose and to the concentration in the containers of plastic narrow their movement before reaching their exit to light. The damp layer of earth that surrounds the faces of the artists, and which is drying out shows the human fragility and at the same time that of the planet, its dangers of drought, infertility, and extinction. Several of the pieces that make up the exhibits were recorded in Umatic format and edited by the artists with two Betamax and a homemade moviola. ^[14] ^[15]

The collaboration of gallery owner Henrique Faria - who has ordered the work - and the recovery of images from the journalist Margarita D'Amico, is structured in five sections that show 56 works, mostly photography and video.

The first one, called «Birth», presents its beginnings, with images of its stage of European formation; followed by "Identity" that shows the interest of these artists, according to Murría, more than in the finished work, in "the process and experimentation, the artistic experience for them and for the public". "Land" and "Water" present, for their part, the interest of both for the essential and the natural. The tour ended in Araya, a name that refers to some impressive Venezuelan salt mines, where they were videotaped and photographed. They donated a collection of 66 images to the CAAC of this performance.

"It's wonderful to get together again," said Nan, recently arrived from Venezuela, in reference to the fact that more than thirty years ago these artists took different paths. Yeni has been living in Salamanca for years. The reunion has also served, to close a circle, since at the inauguration they presented a new performance: "Fire", an element of strength, purity, and transformation, according to Yeni and Nan.^[16] ^[17]

Exhibitions

Collections

Honors and Awards

Bibliography

References

1. ^1.Fajardo-Hill, Cecilia; Guerrero, Marcela (2017). "Latina Art Through the Exhibition Lens: Radical Women: Latin American Art, 1960-1985". Diálogo. 20 (1): 133–140. doi:10.1353/dlg.2017.0015. ISSN 2471-1039.
2. ^2. Medgyaszay [Benkó], István. Oxford Art Online. Oxford University Press. 2003.
3. ^Palenzuela, J. (2000). Ideas sobre lo visible. Caracas: Banco Central de Venezuela.
4. ^Fusco, C. (2019). Corpus Delecti. [online] Google Books. Available at: https://books.google.com/books?id=EeWGAgAAQBAJ&lpg=PA170&dq=yeni%20and%20nan&pg=PA170#v=onepage&q=yeni%20and%20nan&f=false [Accessed 11 Mar. 2019].
5. ^Rubiano Caballero, G. (2001). Art of Latin America, 1981-2000. Washington, DC.: Inter-American Development Bank.
6. ^Martínez Valladares, M., Vass Avendaño, A. and Bisbal, M. (1997). Videoarte. Caracas: Fundación Carlos Eduardo Frías.
7. ^Fajardo Hill, C. and Sánchez, A. (2002). Sala Mendoza 1956-2001. Caracas: Sala Mendoza.
8. ^{{Cite journal|last=Fajardo-Hill|first=Cecilia|last2=Guerrero|first2=Marcela|date=2017|title=Latina Art Through the Exhibition Lens: Radical Women: Latin American Art, 1960-1985|url=http://dx.doi.org/10.1353/dlg.2017.0015|journal=Diálogo|volume=20|issue=1|pages=133–140|doi=10.1353/dlg.2017.0015|issn=2471-1039}}
9. ^http://icaadocs.mfah.org/icaadocs/THEARCHIVE/FullRecord/tabid/88/doc/1097470/language/en-US/Default.aspx
10. ^Flores, E. (1983). Convergencias. Caracas, Venezuela: Monte Avila Editores.
11. ^3.http://www.henriquefaria.com/artist-works?id=101
12. ^Palenzuela, J. (2002). 11 tipos. Caracas: Academia Nacional de la Historia.
13. ^{{Cite book|url=http://dx.doi.org/10.1093/gao/9781884446054.article.t056365|title=Medgyaszay [Benkó], István|date=2003|publisher=Oxford University Press|series=Oxford Art Online}}
14. ^{{Cite book|title=Diccionario biográfico de las artes visuales en Venezuela|date=2005|publisher=Fundación Galería de Arte Nacional|isbn=9806420187|oclc=62892594}}
15. ^{{Cite web|url=http://www.henriquefaria.com/artists.php|title=Henrique Faria Fine Art - Artists|website=www.henriquefaria.com|access-date=2019-02-04}}
16. ^https://sevilla.abc.es/cultura/arte/sevi-caac-reivindica-sevilla-yeni-y-o-gran-performance-venezolana-201902141623_noticia.html
17. ^Camnitzer, L. (2007). Conceptualism in Latin American Art: Didactics of Liberation. Austin, TX: University of Texas Press.
18. ^Arráiz Lucca, R. (2009). Literatura venezolana del siglo XX. Caracas: Alfa.
19. ^Ramos, M. (1995). Acciones frente a la plaza. Caracas: Fundarte.