非常感谢
DCPPAppreciation towards
DCPP for providing the following description:
秘鲁出生，现居墨西哥的艺术家 Rita Ponce de León (1982)与墨西哥当地建筑师Pablo Pérez Palacios (1980)通过密切合作在巴塞尔美术馆举行了独展Endless Openness Produces Circles。作品主要是艺术家Rita Ponce de León将一些对话转化成为图像，装置等视觉小品。这些对话源于艺术家真实的生活经历和体验，结合艺术家对舞蹈的研究，演化为纯粹的感性而开放的艺术视觉表达。更多内容请见下方英文。
英文内容：Born in Peru and currently living in Mexico, artist Rita Ponce de León (1982) and local architect Pablo Pérez Palacios (1980) held a solo exhibition called "Endless Openness Produces Circles" at the Basel Art Museum through close collaboration. The works mainly include visual pieces such as images and installations by artist Rita Ponce de León, who transformed some dialogues into pure sensual and open artistic visual expressions. These dialogues originated from the artist’s real life experiences and encounters, combined with the artist’s research on dance, and evolved into a purely sensual and open artistic visual expression. For more information, please see the English text below.
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
Which point of view is actually mine? (¿Qué punto de vista es realmente el mío?), 2014
Wandzeichnungen, Aluminiumkonstruktion/wall drawings, aluminium construction
Masse variabel/variable dimensions
Untitled (Sin título), 2014
Tusche, Bleistift, Buntstift auf Papier, gerahmt/ink, pencil, colored pencil on paper, framed
18.5 × 23cm
Untitled (Sin título), 2014
Tusche, Bleistift, Buntstift auf Papier, gerahmt /ink, pencil, colored pencil on paper, framed
99 × 70cm
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
Which point of view is actually mine? (¿Qué punto de vista es realmente el mío?), 2014
Wandzeichnungen, Aluminiumkonstruktion/wall drawings, aluminium construction
Masse variabel/variable dimensions
Untitled (Sin título), 2014
Tusche, Bleistift, Buntstift auf Papier, gerahmt/ink, pencil, colored pencil on paper, framed
18.5 × 23cm
Untitled (Sin título), 2014
Tusche, Bleistift, Buntstift auf Papier, gerahmt /ink, pencil, colored pencil on paper, framed
99 × 70cm
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
Which point of view is actually mine? (¿Qué punto de vista es realmente el mío?), 2014
Wandzeichnungen, Aluminiumkonstruktion/wall drawings, aluminium construction
Masse variabel/variable dimensions
Untitled (Sin título), 2014
Tusche, Bleistift, Buntstift auf Papier, gerahmt/ink, pencil, colored pencil on paper, framed
18.5 × 23cm
Untitled (Sin título), 2014
Tusche, Bleistift, Buntstift auf Papier, gerahmt /ink, pencil, colored pencil on paper, framed
99 × 70cm
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
Which point of view is actually mine? (¿Qué punto de vista es realmente el mío?), 2014
Wandzeichnungen, Aluminiumkonstruktion/wall drawings, aluminium construction
Masse variabel/variable dimensions
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
Which point of view is actually mine? (¿Qué punto de vista es realmente el mío?), 2014
Wandzeichnungen, Aluminiumkonstruktion/wall drawings, aluminium construction
Masse variabel/variable dimensions
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
Untitled (Sin título), 2014
Molton, weiss/Molton fabric, white
550 x 1120 cm
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
A Change Of Mind Serves To Advance An Honest Mind Drawings (I Started Saying Something But I Forgot And Said Something Else) (Dibujos de Cambio de Idea-Comencé diciendo algo pero lo olvidé y dije otra cosa-), 2014
11 Zeichnungen (Tusche, Bleistift, Buntstift) auf Papier, gerahmt/11 drawings (ink, pencil, colored pencil) on paper, framed
Verschiedene masse/various dimensions
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
A Change Of Mind Serves To Advance An Honest Mind Drawings (I Started Saying Something But I Forgot And Said Something Else) (Dibujos de Cambio de Idea-Comencé diciendo algo pero lo olvidé y dije otra cosa-), 2014
11 Zeichnungen (Tusche, Bleistift, Buntstift) auf Papier, gerahmt/11 drawings (ink, pencil, colored pencil) on paper, framed
Verschiedene masse/various dimensions
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
A Change Of Mind Serves To Advance An Honest Mind Drawings (I Started Saying Something But I Forgot And Said Something Else) (Dibujos de Cambio de Idea-Comencé diciendo algo pero lo olvidé y dije otra cosa-), 2014
11 Zeichnungen (Tusche, Bleistift, Buntstift) auf Papier, gerahmt/11 drawings (ink, pencil, colored pencil) on paper, framed
Verschiedene masse/various dimensions
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
Uma, 2014
Tusche, Bleistift, Buntstift auf Papier, gerahmt/ink, pencil, colored pencil on paper, framed
22.5 × 18cm
Endless openness produces circles (La apertura sin fin produce círculos), 2014
Aluminiumkonstruktion/aluminium construction
Masse variabel/variable dimensions
Rita Ponce de León_KHB 2014
Rita Ponce de León, Endless openness produces circles, Installationsansicht/installation view
Uma, 2014
Tusche, Bleistift, Buntstift auf Papier, gerahmt/ink, pencil, colored pencil on paper, framed
22.5 × 18cm
Endless openness produces circles (La apertura sin fin produce círculos), 2014
Aluminiumkonstruktion/aluminium construction
Masse variabel/variable dimensions
Here is more information form the DCPP
ENDLESS OPENNESS PRODUCES CIRCLES
Rita Ponce de León in collaboration with Pablo Pérez Palacios
By: Fabian Schöneich / Assistant Curator
INTRODUCTION
At the Kunsthalle Basel, we are pleased to present the first solo exhibition to take place in Europe of the artist Rita Ponce de León (1982), a native of Peru now living in Mexico. The show has been realized in close collaboration with the Mexican Architect Pablo Pérez Palacios (1980).
Conversations with her friends and acquaintances from the point of departure for many of the drawings by Ponce de León featured in the exhibition Endless openness produces circles at the Kunsthalle Basel. The wall drawings in the main gallery are likewise based on drawings executed following this principle. The emphasis of the conversations which Ponce de León records is on subjective feelings, opinions and interests as well as on events of personal relevance and importance to the respective conversation partner. The artist’s chief concern is to develop something in which she already shares. Taking her recordings and the texts she has written about the conversations as her orientation, her next step, therefore, is to analyze not only her vis- à-vis’s utterances but also her own, and to transform or translate them into visual sketches, und thus to reinterpret them. The subjective statements thus become objective text fragments, which are then, in the final stage of the artistic process, turned into drawings. The act of drawing itself, which she describes as the most emotional part of the process, reflects and creates an intuitive and discerning exploration not only of text but also of the experience of relating to the people she knows.
For the artist, it is the underlying friendship that forms the most important aspect of her interest in visualizing conversations. The unique element of sincerity and truth is what inspires her. And it is precisely that which can also be understood as the social element–or social point of departure- in Ponce de León’s art. This entire process, however elaborate it may seem, proceeds on the assumption that pictures are capable of communicating something real if they are based on genuine life experience, on knowledge that has been generated by experience. That is also the reason why the artist has been studying Butoh, a form of Japanese dance theatre, for quite some time. Since the late sixties, dancers and dance theatres in Japan have been devoting themselves to this self-reflective expressive form of dance, which –meanwhile practised worldwide- evolved as a gesture of resistance against a certain Western dance culture with its focus on pure individual expression and entertainment, but also against rigid Japanese traditions, with the aim of finding a contemporary Japanese form of expression. The original Butoh was thus a form of artistic protest comparable to European currents such as Viennese Actionism. Primarily between the years 1962 and 1970, with protagonists such as Otto Muehl and Hermann Nitsch, the latter movement sought to counter the repressive circumstances in society with forceful performances that involved extreme forms of work with the body.
However, Ponce de León’s interest in Butoh focusses primarily on the experience of life, and every single element of it, with the human body. The so-called “dance of darkness” and “dance of death” were early forms of Butoh developed by artists such as Tatsumi Hijikata (1928-1986) or Kazuo Ohno (1906-2010) in order to achieve a new form of dance by metaphorically opening the body and using it as a means of expression. What appeals to Rita Pince de León about this type of dance theatre is the mode of commonality among the participants. When one spends time with people, one also shares a space with them, breathes the same air, and uses the same objects.
A dialogue ensues even before one engages in verbal Exchange. This relationship is the artist’s tool for inquiring into and depicting “togetherness
DCPP
，更多请至：
{{item.text_origin}}
