February 4 to March 4, 2017
Galería El Museo presents the exhibition Desnudos “El eslabón perdido” [Naked: The Missing Link] by artist Fernando García Vásquez, from Barranquilla, in the Projects Room.
Fernando García Vásquez’s work is characterized by the use of diverse techniques, such as painting, collage, assemblies, sculpture and installations. His work is committed to the Colombian historical and social reality, using hybridization with an anthropophagic approach through which he interacts and appropriates images extracted from the history of art and places them in the specific reality of hazardous, everyday life in Colombia.
His interest in the history of art, in understanding painting and painters and in altering the originals at the same time, has resulted in the Desnudos “El eslabón perdido series, which consists of a group of full-size copies of masterpieces comprising works as diverse as The Birth of Venus by Botticelli and Nighthawks by Edward Hopper, among many others.
Curiously, these oils on wood are inspired by two specific reasons. On the one hand, they are a response to the drama of kidnapping and armed displacement in Colombia: the scenes remain but the characters are gone, they have disappeared [forced to leave]. On the other, they represent our interest in understanding the relationship between our memory and images and history itself.
The history of painting becomes a kind of history of abandoned places, a mise-en-scène of the probable. We cannot forget that Fernando García carries out these works as a way of deeply knowing the painting and the painters. But his research differs from the research that a historian would do, given that Garcia is interpreting the images while he copies them. His is an investigation based on interpretation, in which invention and fiction come together and the artist reconstructs what we would otherwise know or imagine seeing.
With Desnudos “El eslabón perdido”, the artist and teacher of Universidad del Altántico invites us to an act of evocation; we look for memories of a disappeared existence. The images have become “naked paintings” full of paradoxes: what once was familiar has become strange, what is funny can also be frightening, and what is silent can become a traitor.