Ivana de Vivanco tackles matters and problems, for a long time out of fashion, concerning painting. These works were created from the discussion about the sense of doing it today. Therefore, the artist redesign those works described by Philostratus in his Imagines, once studied the mythical and artistic tradition, analysing the myths, dissecting, restructuring and deconstructing them; carrying to the edge the joint between pictorial language and contents. Through a boast of strategy in the approaches and a whole exercise of mastery in style, Ivana demostrates its whole validity, making a speech thanks to which a product of the Ancient World is put in a context of a non stop dialogue with the History of Art, while, at the same time, and using a completely contemporary language that comes from a reinterpretation close to the irreverence, it finds out current interlocutors for a discussion proposal about our world from those meanings that put it in question.
There are two issues in the core of these works. On the one hand, the relationship between the written word and the image, and, on the other hand, the validity of intimate space, as scenery for the mise en scene of the most different situations.
The choice of Philostratus´s Imagines its justified by its condition of paradigm of ecphrasis, one of the first literary genre with complete autonomy in relation to others, and because of they to have the myth as aim of their descriptive exercise. The author places the described works in a alleged Neapolitan gallery, open to the Tyrrhenian sea, which he visits with a friend’s son, the recipient of his explanations and of the implicit knowledge, since the purpose of this corpus about mythological iconography in ancient times is the paideia, the instruction of the person in its childhood. Altough its nature as a singular testimony about the existence of the art collectors in such an early stage of the western civilization, it´s because of its communicative structure articulated in several levels that the convergence with the structure itself of communication in the myth it´s possible, and in this circumstance lies its validation as an own language.
The subject centrality of the relationship between word and image, painting and poetry has an special link with the Pindar triptych, which refers the birth of the great Greek poet in his father’s house, where the bees attended to spread honey on his mouth. Others workpieces like Ariadne, Pasiphae and Girls choir corroborate the way the myths hides the synchrony and diachrony; As Levi Strauss formulated, precisely in that significance that turns them in contemporaneous bearers of messages in each moment, useful to fix or conceal structural dissymetries through its logic mediation, or to solve sociological and psychological problems due to the privilege of being the space where the human abandons itself entirely to its creator spontaneity.
The private space, redoubt where personal and familiar traumas are solved, shows an enphasis on its intimacy with the repeated presence of some sculptural nudes, sometimes not even entirely naked, a circumstance that intensifies nudity, is dramatically experienced when it turns into a scenery of inexplicable situations, due either to their cryptic nature or for being inaproppiate for that context, or because of the concurrence of characters out of its natural ambience. The scenes of extravagant and variegated anachronichal insides, incorporating inappropieted elements, compose a sort of atrezzo, among which the characters seem to do a break during the rehearsal or performance of a Theater of the Absurd´s play. Human condition, in all its multiple strands, seems to surface in these complicated choral compositions, where incoherence and logic are compatible. Domestic sceneries are marked out with as much milestones as elements bearer of signs required by the message. The scene develops in a dense atmosphere, almost in twilight, only iluminated by a light bulb or a lamp, preserving an intimacy that, once more, is forced by the daylight that suddenly penetrates from the background throgh a window or a door that comunicates with other stay. The taste for qualities and the emphasis upon details in some elements as curtains, floors or wallpapers; the persistent presence of tube televisions, desk lamps, sinks and mirrors with reflected characters; the anecdotal face starring by animals, or the symbolic that is in the skulls, emblems of the fugacity of life and evidence of the apropriation of the vanitas…All of it to reinforce the intertextuality and diachrony of the speech in a way that remits to the Flemish Primitives, but also to Spanish Baroque style or Critical Realism from Twentieth Century, That also follow in some way the paths of Matisse, Freud, Rego or Balthus.
Ivana de Vivanco (Resume)
(chileno-peruvian artist, born in Lisbon, 1989)
Estudied Art and Painting at the University of Santiago, Chile, where got aswell a posgraduate in the same discipline, under the tutorialising of Gonzalo Díaz Cuevas. Later she is invited in the Hochschule für Grafik und Buchkunst, Leipzig, city in which realizes a Máster and PhD in Painting.
Her work has recently been selected in XIII Bienal de Arte de Unicaja, exhibiting at the moment, and has got awards such as Marion Ermer Price, and grants such as Heinrich Böll Foundation and DAAD.
She has had solo shows at private and public spaces such as HGB Galerie de Leipzig,or Galeria Departamento 21 and Juan Egenau, in Santiago de Chile o en la Elten & Elten Galerie de Zurich. Her work aswell has been part of group shows in public or private institutions such as MAC, Contemporay Art Museum of Chile -in several ocassions, uone of them the very wellknown Sub 30; Leipzig Contemporary Art Museum; Guasch Coranty Award Shortlisted at Sala Tecla, Barcelona; Diputación of Seville; NUNC Contemporary, Antwerp; Kunstverains in Dresden and Duisburg; or Imago Mundi Museum, Benetton Foundation, Trevise, Italy.
She was selected in 2014 as one of the 100 Painters of Tomorrow -Thames & Hudson- and for the group show at Kurt Beers, Londres.
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