dianabarquero.com

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	<title>dianabarquero.com</title>
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	<pubDate>Wed, 08 Jan 2025 20:06:11 +0000</pubDate>
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		<title>Home</title>
				
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		<pubDate>Tue, 12 Oct 2021 03:17:02 +0000</pubDate>

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	Diana Barquero Pérez
1986, Costa Rica.

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		<title>Information</title>
				
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		<pubDate>Tue, 12 Oct 2021 03:17:03 +0000</pubDate>

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		<description>Information

	
Diana Barquero Pérez
Costa Rica, 1986.

	
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Statement

(EN) My work emphasizes processes of friction, transformation and collapse. I deal with places that coexist in tension with so-called 'productive spaces'. How are socio-political interests and tensions inscribed in the landscape? What are the subjects/materials and processes that mediate its production? Through my artistic research I seek to answer these questions.
My proposal seeks to dismantle, by pointing out the minuscule and the apparently accessory, the human-centric value systems that mediate the production and alteration of territories.


&#38;nbsp; &#38;nbsp; My practice has developed from an expanded notion of the pictorial, incorporating organic matter and found objects. These processes are based on fieldwork and derive in material installations, photographs and videos. The material I use comes from the places where I&#38;nbsp;am situated, paying special attention to raw materials and how they relate to each other.

 
(ES) Mi trabajo busca enfatizar los procesos de fricción, transformación y colapso. Me ocupo de lugares que coexisten en tensión con los llamados ‘espacios productivos’. ¿Cómo quedan inscritos en el paisaje los intereses y tensiones sociopolíticas? ¿Cuáles son los sujetos/materiales y procesos que median esta producción? A través de mi obra busco responder estas preguntas.
&#38;nbsp; &#38;nbsp; 
Mi propuesta busca desmontar, señalando lo minúsculo y lo aparentemente accesorio, los sistemas de valor humanocentrista que median en la producción y alteración de territorios.
&#38;nbsp; &#38;nbsp; Mi práctica se ha desarrollado a partir de una noción expandida de lo pictórico, incorporando materia orgánica y objetos encontrados. Estos procesos parten del trabajo de campo y derivan en instalaciones matéricas, fotografías y videos. La materia que utilizo proviene de los lugares donde trabajo, prestando especial atención a materias crudas y cómo se relacionan.


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	Bio 
(EN) Graduate of the Master of Arts in Spatial Strategies at Kunsthochschule Weißensee (KHB) Berlin (2020). Bachelor of Fine Arts with emphasis in Painting at the University of Costa Rica (2014). Participant of SOMA (PES) 20-22 &#38;nbsp;programme, Mexico City. Student of UNAM Artistic Research PhD programm, Mexico.&#38;nbsp; &#38;nbsp; 
Part of her professional development includes different artistic residencies, among which Pivô Pesquisa (2023, São Paulo), Dos Mares (2023, Marseille), Launchpad Art (2022, Champagne-Mouton) and Alter-academia (2016, TEOR/ética, San José) stand out. In Costa Rica she has had solo exhibitions at the Museo de Arte y Diseño Contemporáneo (MADC), at the Centro Cultural de España, at Galería Equilátero and at the La Salita Temporal. In Berlin she had her solo exhibition If you think you can grasp me, think again at T.O.P (Transdisciplinary Project Space, 2020). &#38;nbsp;She has also participated in multiple group exhibitions in Costa Rica in spaces such as TEOR/ética, the National Museum and MADC. Outside the country she has exhibited in Germany, Brasil, Guatemala, and the United States. She was awarded the Elsa-Neumann-Stipendium des Landes Berlin research grant (NaFöG, 2020 Berlin) and the Kickstarters Stipendium grant (2021, Berlin). Winner of the Francisco Amighetti National Arts Award in the category 'other media' (2018). She has worked transdisciplinary with Soledad Castro in the fields of political ecology and environmental sciences. Together with her he has participated in the RGS (London, 2019) and EASST 4S (Prague, 2020) conferences.&#38;nbsp;
Her published texts include the Escuela.art journal Culturas hidrocomunes: Arte, pedagogía y prácticas de cuidado en las Américas with the article Si crees que puedes tomarme, piénsalo de nuevo. An artistic look at the waterscape of the Térraba Sierpe National Wetland in Costa Rica. Also, together with Soledad Castro they wrote the article Triggering the apparitions: Spectres of Chemical Seascapes in the book Imagining Apocalyptic Politics in the Anthropocene (Routledge Environmental Humanities. 2022, London). She contributed to &#38;nbsp;the book Destrucción: Obras, proyectos (2019) of the publishing house Operaciones, with her text Habitar la catástrofe that deals with memory and fragment in the ruined space of Cinchona (Alajuela, Costa Rica). 

Email: dibarquero@gmail.com
IG: diana_barquerop
	Biografía

(ES) Graduada de la Maestría en artes ‘Estrategias del espacio’ en Kunsthochschule Weißensee (KHB) Berlín (2020). Licenciada en artes plásticas con énfasis en pintura en la Universidad de Costa Rica (2014). Participó en SOMA (PES) 2020-2022, Ciudad de México. &#38;nbsp;Estudiante de doctorado en investigación artística, UNAM, México.&#38;nbsp; &#38;nbsp; 
Parte de su desarrollo profesional incluye diferentes residencias artísticas, entre las cuales se destacan Pivô Pesquisa (2023, São Paulo), Dos Mares (2023, Marsella), Launchpad Art (2022, Champagne-Mouton) y&#38;nbsp; Alter-academia (2016, TEOR/ética, San José) En Costa Rica ha realizado exposiciones individuales en el Museo de Arte y Diseño Contemporáneo (MADC), en el Centro Cultural de España, en Galería Equilátero y en La Salita temporal. En Berlín realizó la exhibición individual If you think you can grasp me, think again en T.O.P (Transdisciplinary Project Space, 2020).&#38;nbsp; Además ha participado en múltiples exposiciones colectivas en Costa Rica en espacios como TEOR/ética, el Museo Nacional y el MADC. Fuera del país ha exhibido en Alemania, Brasil, Guatemala, y Estados Unidos. Obtuvo la beca de investigación Elsa-Neumann-Stipendium des Landes Berlin. (NaFöG, 2020 Berlin) y la beca Kickstarters Stipendium (2021, Berlin). Ganadora del Premio nacional de artes Francisco Amighetti en la categoría ‘otros medios’ (2018).&#38;nbsp;Ha trabajado transdisciplinariamente con Soledad Castro en los ámbitos de ecología política y ciencias ambientales. Junto a ella ha participado en las conferencias de RGS (London, 2019) y EASST 4S (Prague, 2020).

 Entre sus textos publicados destacan el journal de Escuela.art Culturas hidrocomunes: Arte, pedagogía y prácticas de cuidado en las Américas con el artículo Si crees que puedes tomarme, piénsalo de nuevo. Una mirada artística al paisaje acuático del Humedal Nacional Térraba Sierpe en Costa Rica. Asimismo, en conjunto con Soledad Castro escribieron el artículo Triggering the apparitions: Spectres of Chemical Seascapes. en el libro Imagining Apocalyptic Politics in the Anthropocene (Routledge Environmental Humanities. 2022, Londres). También forma parte del libro Destrucción: Obras, proyectos (2019) de la editorial Operaciones, con su texto Habitar la catástrofe que trata sobre la memoria y el fragmento en el espacio en ruinas de Cinchona (Alajuela, Costa Rica).Email: dibarquero@gmail.com
IG: diana_barquerop
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		<title>Solo la dosis hace el veneno</title>
				
		<link>https://dianabarquero.com/Solo-la-dosis-hace-el-veneno</link>

		<pubDate>Wed, 08 Jan 2025 20:06:11 +0000</pubDate>

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		<description>2024Solo la dosis hace el veneno

The Dose Makes the Poison

&#60;img width="2362" height="1575" width_o="2362" height_o="1575" data-src="https://freight.cargo.site/t/original/i/5ad17d06c33bcf5b72844ce2ef64b11581ab84bc6f0f57fa23e15290c1c20a05/detalle-med.jpg" data-mid="224466981" border="0"  src="https://freight.cargo.site/w/1000/i/5ad17d06c33bcf5b72844ce2ef64b11581ab84bc6f0f57fa23e15290c1c20a05/detalle-med.jpg" /&#62;
	(ES) La exposición Sólo la dosis hace el veneno continúa la investigación sobre la violencia lenta generada con el monocultivo de piña en Costa Rica. La primera parte de esta pesquisa culminó con la exposición De bichos y bestias en la conquista de los suelos. “Sólo la dosis hace el veneno” explora cómo esta práctica afecta la tierra y los seres que la habitan, vinculando sus efectos tóxicos con las raíces coloniales del deseo por la piña. Además, aborda los imaginarios monstruosos creados tanto desde la otredad colonial como desde la toxicidad actual del monocultivo.&#38;nbsp;&#38;nbsp; &#38;nbsp; 
 A través de la figura del insecto picudo (Metamasius dimidiatipennis) —un insecto plaga—, la artista pone en evidencia la complejidad y los desequilibrios de estos entornos artificiales y poco biodiversos.

Las piezas que conforman esta exhibición son las siguientes:

-Alegoría de la plantación.

-Aparición.

-De espectros y picudos.

-Órganos.

-Pinkglow
	(EN) The exhibition The dose makes the poison continues the research on the slow violence generated by pineapple monoculture in Costa Rica. The first part of this research culminated with the exhibition Of bugs and beasts in the conquest of soils. “The dose makes the poison” explores how this practice affects the land and the beings that inhabit it, linking its toxic effects to the colonial roots of the desire for pineapple. It also addresses the monstrous imaginaries created both from colonial otherness and from the current toxicity of monoculture.&#38;nbsp; &#38;nbsp; 
Through the figure of the weevil insect (Metamasius dimidiatipennis) -a pest insect-, the artist highlights the complexity and imbalances of these artificial and poorly biodiverse environments.

The artworks that make up this exhibition are the following:

-Allegory of the plantation.

-Apparition.

-Of specters and weevils.

-Organs.

-Pinkglow


Alegoría de la plantación
Allegory of the Plantation

&#60;img width="5184" height="2920" width_o="5184" height_o="2920" data-src="https://freight.cargo.site/t/original/i/ab26df1c3ffbf0e8ec2ed7377fafd740bc314a2adb6d40d13312fe3eaf0a910a/PA113745.JPG" data-mid="224469050" border="0"  src="https://freight.cargo.site/w/1000/i/ab26df1c3ffbf0e8ec2ed7377fafd740bc314a2adb6d40d13312fe3eaf0a910a/PA113745.JPG" /&#62;Máscara de látex realizada con cáscara de piña, cocida con hilo de cobre. Reproducción de pintura Paisaje brasileño de Frans Post. Pedestal de metal y lámpara. Medidas variables (170 x 200 cm aprox.) 2024. 


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Latex mask made with pineapple skin, sewed with copper wire. Reproduction of Brazilian landscape painting by Frans Post. Metal pedestal and lamp. Variable dimensions (170 x 200 cm approx.) 2024.Aparición
Apparition
Registro de foto-performance en plantación de piña. &#38;nbsp;Conjunto de dos fotografías  impresas en papel fotográfico 230g/m2 sin montura. 20 x 30’’ y 16 x 24’’. 2024.&#38;nbsp;


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Capture of photo-performance in pineapple plantation.&#38;nbsp; Set of two photographs printed on 230g/m2 photographic paper. 20 x 30'' and 16 x 24'' . 2024


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Fotografías en el espacio de exhibición Salita temporal. 2024.De espectros y picudos


Of Spectres and Weevils

	Instalación. Seis esculturas de malla hexagonal de metal. Cinco pedestales con bases de metal y linternas. 3 linternas colgadas a la pared. Medidas aproximadas de insectos 50 x 30 x 25 cm. Instalación total 230 x 170cm. 

En esta pieza el público interactúa con la obra, al “animar” los picudos con el movimiento de las linternas en el espacio. Para visualizar cómo se mueve su luz y sombra les recomiendo visitar el video disponible en el siguiente vínculo:
	Installation. Six sculptures of hexagonal metal mesh. Five pedestals with metal bases and lanterns. 3 lanterns hung on the wall. Approximate dimensions of the insects range between 60 x 40 x 25 x 25 cm and 40 x 25 x 20cm. In this piece the public interacts with the work by “animating” the weevils with the movement of the lanterns in space. To visualize how their light and shadow moves, I recommend you to visit the video available in the following link:


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Órganos

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Esta pieza está compuesta de una vasija de barro con la forma de 3 órganos unidos. Dentro de ella hay jugo de piña y una feromona de olor para atraer al insecto picudo (la cual atrajo a dos picudos vivos durante su exhibición en San José). Además están dispuestas otras 13 piezas pequeñas con formas similares.
La pieza nos habla de cómo nuestro cuerpo es un contenedor de las sustancias que consumimos. Los agrotóxicos y otros productos químicos son absorbidas por nuestro cuerpo, así como el barro también va absorbiendo y conteniendo lo que se le coloca. La idea detrás de esta pieza remite a la noción de un cuerpo como contenedor, un contenedor químico y biológico que va “cargando” a lo largo de su vida estas sustancias.
Vasija de tres patas que contiene feromonas y jugo de piña. Conjunto de 13 piezas cerámicas pequeñas. Medidas: 25 x 30 x 15cm (vasija). 4 x 2 cm las piezas pequeñas. 2024.OrgansThis workpiece is composed of a clay pot in the shape of 3 organs joined together. Inside there is pineapple juice and a pheromone odor to attract the weevil insect (which attracted two live weevils during its exhibition in San Jos). There are also 13 other small pieces with similar shapes.
The piece talks about how our body is a container for the substances we consume. Agro-toxics and other chemical products are absorbed by our body, just as the clay also absorbs and contains what is placed on it. The idea behind this piece refers to the notion of a body as a container, a chemical and biological container that “carries” these substances throughout its life.
Three-legged vessel containing pheromones and pineapple juice. Set of 13 small ceramic pieces. Measures: 25 x 30 x 15cm (vase). 4 x 2 cm (the small pieces). 2024.


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&#60;img width="2362" height="1772" width_o="2362" height_o="1772" data-src="https://freight.cargo.site/t/original/i/8d8285ef992213d3774ee1cf51b7a95c9980f4fbae6e2a9987645798e7bf91ea/ceramica1.jpg" data-mid="224466932" border="0"  src="https://freight.cargo.site/w/1000/i/8d8285ef992213d3774ee1cf51b7a95c9980f4fbae6e2a9987645798e7bf91ea/ceramica1.jpg" /&#62;
Detalle de las 13 piezas.
&#38;nbsp;&#38;nbsp; &#38;nbsp; Detail of the 13 ceramic pieces.


Pinkglow


&#60;img width="2363" height="1575" width_o="2363" height_o="1575" data-src="https://freight.cargo.site/t/original/i/728a44de0d712dd5aec15fa98f3b70ccf38181a9749bad0cfdbe3a3863d4d372/LOGO-EN-SUELO-WEB.jpg" data-mid="224466980" border="0"  src="https://freight.cargo.site/w/1000/i/728a44de0d712dd5aec15fa98f3b70ccf38181a9749bad0cfdbe3a3863d4d372/LOGO-EN-SUELO-WEB.jpg" /&#62;
&#60;img width="500" height="500" width_o="500" height_o="500" data-src="https://freight.cargo.site/t/original/i/9f9d6ac11ec7db9cbc36d3f1ce8382ea76b05ed19880a85db5fd8c67311d02db/pinkglow2.jpg" data-mid="224547651" border="0"  src="https://freight.cargo.site/w/500/i/9f9d6ac11ec7db9cbc36d3f1ce8382ea76b05ed19880a85db5fd8c67311d02db/pinkglow2.jpg" /&#62;
Vinil adhesivo sobre el suelo. Medidas: 40 x 30cm. 2024.
Adhesive vinyl on the floor. Measures: 40 x 30cm. 2024.


	Este logo proviene de la caja de la piña rosa (PinkglowTM); piña creada en laboratorio y patentada por Del Monte Co. Esta se cultiva en el sur del país y sólo puede comprarse en EEUU. La estética de la caja y su logotipo remite a un imaginario exotizante sobre el trópico y sobre Costa Rica. El logo y su caja también poseen un aire monárquico, en donde su símbolo es una suerte de escudo imperial. La artista colocó el logo en el suelo, dando la oportunidad al público de pisarlo.
	
This logo comes from the pink pineapple box (PinkglowTM); pineapple created in a laboratory and patented by Del Monte Co. This pineapple is grown in the south of the country and can only be purchased in the USA. The aesthetics of the box and its logo refer to an exotic imaginary about the tropics and Costa Rica. The logo and its box also have a monarchic air, where its symbol is a sort of imperial shield. The artist placed the logo on the floor, giving the public the opportunity to step on it.


&#60;img width="2362" height="1575" width_o="2362" height_o="1575" data-src="https://freight.cargo.site/t/original/i/ae25b7c876f7a0bd435fb8a60119613c69a9c7d7809c753582fd93fb1613945c/vista-con-logo_med.jpg" data-mid="224466985" border="0"  src="https://freight.cargo.site/w/1000/i/ae25b7c876f7a0bd435fb8a60119613c69a9c7d7809c753582fd93fb1613945c/vista-con-logo_med.jpg" /&#62;

Sobre el título “Sólo la dosis hace el veneno”
El título de la exhibición, Sólo la dosis hace el veneno, encapsula temas centrales de la exposición, como la toxicidad, la violencia lenta y las dinámicas coloniales y ecológicas de este cultivo. Esta frase, atribuida a Paracelso, pionero de la toxicología, plantea una idea fundamental: cualquier sustancia puede ser tóxica dependiendo de la cantidad o escala en la que se emplee. Este principio resuena profundamente en el contexto del monocultivo y sus implicaciones culturales, históricas y ecológicas. La noción de la "dosis" también dialoga con la escala territorial y mental del monocultivo. A nivel territorial, el monocultivo de la piña en Costa Rica no solo afecta paisajes específicos, sino que tiene repercusiones globales, reflejando dinámicas de desigualdad económica y cultural. A nivel cultural, este monocultivo ha impregnado imaginarios, narrativas y deseos heredados desde la época colonial, como la asociación de la piña con el lujo y el estatus, que perpetúan su demanda excesiva y los desequilibrios que hoy en día genera.

&#60;img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/83432ef4f8c32222066795b96eb421ab80bf439e6ab9a48bcbfe511767219ec0/vista-con-puerta_WEB.jpg" data-mid="224547695" border="0"  src="https://freight.cargo.site/w/1000/i/83432ef4f8c32222066795b96eb421ab80bf439e6ab9a48bcbfe511767219ec0/vista-con-puerta_WEB.jpg" /&#62;About the title “The dose makes the poison”.

The title of the exhibition, Only the dose makes the poison, encapsulates central themes of the exhibition, such as toxicity, slow violence, and the colonial and ecological dynamics of this crop. This phrase, attributed to Paracelsus, a pioneer of toxicology, raises a fundamental idea: any substance can be toxic depending on the amount or scale at which it is used. This principle resonates deeply in the context of monoculture and its cultural, historical and ecological implications. The notion of “dose” also dialogues with the territorial and mental scale of monoculture. At the territorial level, pineapple monoculture in Costa Rica not only affects specific landscapes, but has global repercussions, reflecting dynamics of economic and cultural inequality. At the cultural level, this monoculture has permeated imaginaries, narratives and desires inherited from colonial times, such as the association of pineapple with luxury and status, which perpetuate its excessive demand and the imbalances it creates today.
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	<item>
		<title>De bichos y bestias en la conquista de los suelos</title>
				
		<link>https://dianabarquero.com/De-bichos-y-bestias-en-la-conquista-de-los-suelos</link>

		<pubDate>Thu, 28 Dec 2023 15:08:31 +0000</pubDate>

		<dc:creator>dianabarquero.com</dc:creator>

		<guid isPermaLink="true">https://dianabarquero.com/De-bichos-y-bestias-en-la-conquista-de-los-suelos</guid>

		<description>
	
	
	2022-2024
Of Bugs and Beasts in the 
Conquest of Soils
&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/64794c78bf329a727291cd2f499bee4f971398b2ce50d9ea124ad1b886a75ff3/DSC08366.JPG" data-mid="207376668" border="0" data-scale="95" alt="cultivo de pi&#38;ntilde;a, Buenos Aires de Puntarenas. 2024" data-caption="cultivo de piña, Buenos Aires de Puntarenas. 2024" src="https://freight.cargo.site/w/1000/i/64794c78bf329a727291cd2f499bee4f971398b2ce50d9ea124ad1b886a75ff3/DSC08366.JPG" /&#62;


De bichos y bestias en la conquista de los suelos&#38;nbsp; 
De bichos y bestias en la conquista de los suelos es una pesquisa en desarrollo sobre la violencia lenta que se genera con el modelo de monocultivo. Las obras presentadas entrelazan tres aspectos diferentes de una misma investigación: la historia del deseo de una fruta tropical, la comprensión del suelo como espacio de vida y fragilidad y, por último, la degradación causada por los plaguicidas. El proyecto es una reivindicación de los insectos y otros seres minúsculos que viven en el suelo.

Específicamente trabajo con el monocultivo de la piña en Costa Rica, ya que es uno de los cultivos que requiere mayores extensiones de tierra, alto uso de plaguicidas y conlleva una serie de problemáticas ambientales y sociales. Esta investigación estudia diferentes ramificaciones sobre esta problemática. Entre las secciones en proceso destaco el concepto de plaga en el monocultivo, la génesis colonial de la plantación y su representación simbólica; así como también los efectos de los agroquímicos en suelos y en diferentes seres que son afectados directa o tangencialmente por estas sustancias.
(EN) Of Bugs and Beasts in the Conquest of Soils is an ongoing research on the slow violence generated by the monoculture model. The works presented intertwine three different aspects of the project: the story of the desire for a tropical fruit, the understanding of the soil as a space of life and fragility and, finally, the degradation caused by pesticides. The project is a vindication of insects and other tiny creatures that live in the soil. &#38;nbsp;&#38;nbsp; 

Specifically, I work with pineapple monoculture in Costa Rica, as it is one of the crops that requires the largest extensions of land, high use of pesticides and entails a series of environmental and social problems. This research studies different ramifications of these issues. Among the sections in progress, I highlight the concept of ‘pest’ in monoculture, the colonial genesis of the plantation and its symbolic representation, as well as the effects of agrochemicals on soils and on different beings that are directly or tangentially affected by these substances.Suelo Firme
Solid groundsPieza que consta de 320 lozas de yeso con huellas de distintas criaturas que habitan los suelos. Lxs visitantes al recorrer el espacio pisan el suelo, ocasionando su lenta destrucción.&#38;nbsp;(EN)&#38;nbsp;A work consisting of 320 plaster tiles with the imprints of different creatures that inhabit the soil. As visitors walk through the space, they step on the tiles, causing their slow destruction. 

	&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/46e491474da944473dff6ba18f9f84dedb72b103d0397e0a71da6e5f8de99483/_MG_2499-copy.jpg" data-mid="200267428" border="0"  src="https://freight.cargo.site/w/1000/i/46e491474da944473dff6ba18f9f84dedb72b103d0397e0a71da6e5f8de99483/_MG_2499-copy.jpg" /&#62;
	&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3e9ef5e8a1b1e80e03cfef3cb02d0553c730e353e38f956ea20515b0f7e3da27/_MG_2491-copy.jpg" data-mid="207371882" border="0"  src="https://freight.cargo.site/w/1000/i/3e9ef5e8a1b1e80e03cfef3cb02d0553c730e353e38f956ea20515b0f7e3da27/_MG_2491-copy.jpg" /&#62;


&#60;img width="1181" height="782" width_o="1181" height_o="782" data-src="https://freight.cargo.site/t/original/i/b92c2e9f40c234d646236b26f7f8790b295875efdc4a558aee7f0af4917261e3/suelo-y-gente_web.png" data-mid="207372219" border="0"  src="https://freight.cargo.site/w/1000/i/b92c2e9f40c234d646236b26f7f8790b295875efdc4a558aee7f0af4917261e3/suelo-y-gente_web.png" /&#62;
&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/e5a6c0a121e9c2fa7b4444a6580a04226e7c0e9349ff11ac9a10f8ad916a2cbc/gente-en-el-espacio.jpg" data-mid="207371981" border="0"  src="https://freight.cargo.site/w/1000/i/e5a6c0a121e9c2fa7b4444a6580a04226e7c0e9349ff11ac9a10f8ad916a2cbc/gente-en-el-espacio.jpg" /&#62;
&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/bb4fe9d6cf941db9885e13903307eccad35fb07ff2b120403ff73e65a17e3290/suelo-y-texto.jpg" data-mid="207377523" border="0"  src="https://freight.cargo.site/w/1000/i/bb4fe9d6cf941db9885e13903307eccad35fb07ff2b120403ff73e65a17e3290/suelo-y-texto.jpg" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/7bae2f67fdad60b412e1a71175633858c7c30a2cb91d8dcf5fd322c909364a69/detalle-suelo.jpg" data-mid="207377510" border="0"  src="https://freight.cargo.site/w/1000/i/7bae2f67fdad60b412e1a71175633858c7c30a2cb91d8dcf5fd322c909364a69/detalle-suelo.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2295e1b26e4b027298f5040e81d4720ce5ec00dd882c38388a0fb3e6f5d15913/_MG_2493-copy.jpg" data-mid="207371883" border="0"  src="https://freight.cargo.site/w/1000/i/2295e1b26e4b027298f5040e81d4720ce5ec00dd882c38388a0fb3e6f5d15913/_MG_2493-copy.jpg" /&#62;


VideoTwo-channel video installation. 2022.&#38;nbsp;Video en dos canales. 11’26’’.&#38;nbsp;


Mezcla de audio realizada en colaboración con Camilo Ángeles. 

Cuento
Short StoryCuento que narra la historia y los viajes de la piña, contada en primera persona por la piña misma. El texto en pared está escrito con clorofila y acuarela.&#38;nbsp;Texto sobre pared. &#38;nbsp;100 cm x 70cm aprox. 2022.&#38;nbsp;Story that narrates the history and travels of the pineapple, told in first person by the pineapple itself. The wall text is written with chlorophyll and watercolor. Text on wall. 100 cm x 70cm approx. 2022. Text on wall. 100 cm x 70cm approx. 2022.&#38;nbsp;


&#60;img width="2999" height="2000" width_o="2999" height_o="2000" data-src="https://freight.cargo.site/t/original/i/53f450c15cf6e0c8f53b60bc5795f303d906035fb807e5b2ed6a0ddacc8abbf1/_MG_2500-copy.jpg" data-mid="207371885" border="0"  src="https://freight.cargo.site/w/1000/i/53f450c15cf6e0c8f53b60bc5795f303d906035fb807e5b2ed6a0ddacc8abbf1/_MG_2500-copy.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0ccdafed543d88279a7ea80ba59d261bf3b6299417211e91ad22ed0a12095556/_MG_2501-copy.jpg" data-mid="207371886" border="0"  src="https://freight.cargo.site/w/1000/i/0ccdafed543d88279a7ea80ba59d261bf3b6299417211e91ad22ed0a12095556/_MG_2501-copy.jpg" /&#62;

&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/bb4fe9d6cf941db9885e13903307eccad35fb07ff2b120403ff73e65a17e3290/suelo-y-texto.jpg" data-mid="207377523" border="0"  src="https://freight.cargo.site/w/1000/i/bb4fe9d6cf941db9885e13903307eccad35fb07ff2b120403ff73e65a17e3290/suelo-y-texto.jpg" /&#62;</description>
		
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	<item>
		<title>Si crees que puedes tomarme, piénsalo de nuevo</title>
				
		<link>https://dianabarquero.com/Si-crees-que-puedes-tomarme-piensalo-de-nuevo</link>

		<pubDate>Tue, 12 Oct 2021 03:17:03 +0000</pubDate>

		<dc:creator>dianabarquero.com</dc:creator>

		<guid isPermaLink="true">https://dianabarquero.com/Si-crees-que-puedes-tomarme-piensalo-de-nuevo</guid>

		<description>&#38;nbsp;If you think you can grasp me, think again
Si crees que puedes tomarme, piénsalo de nuevo2020-2021


If you have taken this rubble for my pastraking through it for fragments you could sellknow that I long ago moved ondeeper into the heart of the matter

If you think that you can grasp me, think again:my story flows in more than one directiona delta springing from the riverbedwith its five fingers spread

Adrienne Rich, Delta


(EN) If you think you can grasp me, think again is an artistic project&#38;nbsp; tha deals with the transformations of National Wetland Terraba Sierpe,&#38;nbsp; a wetland located in Southern Costa Rica. This wetland is a protected area of great environmental importance. However, this place is being shrunk and transformed by multiple external aggressions. Banana, palm oil, rice and pineapple are expanding the agricultural border filling the land and the water with pesticides, fertilizers and polluted sediments. 
&#38;nbsp; &#38;nbsp; Changes in land use, struggles for land rights, workers, and the traces of pesticides are inscribed in the wetland. They are present in the different materialities and creatures that mutate, adapt, and decompose in the aquatic landscape. My artistic procedure seeks to read these hidden alphabets in the layers of sediment, water and chemicals. These alphabets that, through their traces, show the slow but progressive violence that is exerted onto the land and the water.
&#38;nbsp; 
 

(ES) Si&#38;nbsp;crees que puedes asirme, piénsalo de nuevo.&#38;nbsp;Este proyecto aborda las transformaciones en el paisaje del Humedal Nacional Térraba Sierpe (HNTS), ubicado en la zona sur de Costa Rica. Este humedal es una fuente importante de biodiversidad y fijación de carbono. Sin embargo este lugar está siendo modificado por múltiples agresiones externas colindantes a los límites fijados como reserva natural. Monocultivos como el banano, palma aceitera, arroz y piña están llenando la tierra y agua con pesticidas, fertilizantes y sedimentos contaminados. 
&#38;nbsp; &#38;nbsp; Los cambios en el uso del suelo, las luchas por los derechos de la tierra, los trabajadores, y las huellas de los pesticidas están inscritos en el humedal. Están presentes en las diferentes materialidades y criaturas que mutan, se adaptan y se descomponen en el paisaje acuático. Mi procedimiento artístico busca leer estos alfabetos ocultos en las capas de sedimentos, agua y productos químicos. Estos alfabetos que, a través de sus huellas, muestran la lenta pero progresiva violencia que se ejerce sobre la tierra y las aguas.&#38;nbsp;
&#38;nbsp; &#38;nbsp; 


&#60;img width="2894" height="1924" width_o="2894" height_o="1924" data-src="https://freight.cargo.site/t/original/i/fc01043e27b15fac70eb1ed22c30cfeceb820b6ef5853e777cdcbfe52e445ea0/vista2.jpg" data-mid="123944672" border="0"  src="https://freight.cargo.site/w/1000/i/fc01043e27b15fac70eb1ed22c30cfeceb820b6ef5853e777cdcbfe52e445ea0/vista2.jpg" /&#62;
Installation view. Hamburger Bahnhof-Museum für Gegenwart- Staatliche Museen zu Berlin. 2021


 Conglomerates &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Conglomerados

	The work consists of 20 sculptural pieces placed on watercolour cardboard. The sculptures emulate the geological concept of conglomerate. A conglomerate is a sedimentary rock formed by other rocks fixed together. In each conglomerate, different wetland materials are joined together in blocks. The materials are: clay, earth, plaster, rope, cement, piangua shells, pineapple and banana peels. The conglomerates form a durational installation in which the pieces are progressively broken by the action of liquids, which are placed twice a day over a hole at the top of the stones. The shape of the conglomerates corresponds to the geometric shapes of the plots created by the United Fruit Company when it arrived in the area in 1936.
The liquids used are: copper sulphate (first pesticide applied in Costa Rica), iron oxide with water, fresh and salt water and pineapple juice. Each liquid corresponds to elements that are in the wetland or are in direct relation to it. Conglomerates are arranged on a drawn map of the Sierpe Terraba delta area.
	(ES) La obra consta de 20 piezas escultóricas colocadas sobre un cartón de acuarela. Las esculturas emulan el concepto geológico del conglomerado. Un conglomerado es una piedra sedimentaria formada por otras piedras fijadas entre sí. En cada conglomerado se unen diferentes materiales del humedal en bloques. Los materiales son: arcilla, tierra, yeso, cuerdas, cemento, conchas de piangua, cáscaras de piña y plátano. Los conglomerados forman una instalación en la que las piezas se rompen progresivamente mediante la acción de líquidos, los cuales son colocados dos veces al día sobre un orificio que se encuentra&#38;nbsp; en la parte superior de las piedras. La forma de los conglomerados corresponde a las formas geométricas de las parcelas creadas por la United Fruit Company a su llegada a la zona en 1936. 

Los líquidos utilizados son: sulfato de cobre (primer pesticida aplicado en costa Rica) , óxido de hierro con agua, agua dulce y salada y jugo de piña. Cada líquido corresponde a elementos que están en el humedal o están en relación directa con él. Los conglomerados están dispuestos en el cartón acuarela con un mapa dibujado de la zona del delta del Térraba Sierpe.&#38;nbsp;


&#60;img width="3008" height="2000" width_o="3008" height_o="2000" data-src="https://freight.cargo.site/t/original/i/65e015515238aa2bebe76485f861f9b1bba3d892230b17d11bfd75984a3a65a5/conglomerado1.jpg" data-mid="121352160" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/65e015515238aa2bebe76485f861f9b1bba3d892230b17d11bfd75984a3a65a5/conglomerado1.jpg" /&#62;


&#60;img width="3008" height="2000" width_o="3008" height_o="2000" data-src="https://freight.cargo.site/t/original/i/87ba647baaa2aed6766c1a43a4a00d8ae352937e30b4da2692bb429e0f1959f8/conglomerado2.jpg" data-mid="121351414" border="0"  src="https://freight.cargo.site/w/1000/i/87ba647baaa2aed6766c1a43a4a00d8ae352937e30b4da2692bb429e0f1959f8/conglomerado2.jpg" /&#62;Detail. Hamburger Bahnhof-Museum für Gegenwart- Staatliche Museen zu Berlin. 2021


&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/5bcc4caf3df741a002b202115ef1d782692c5aa58b4fc00345e4a4340e8ec0dd/DSC05371.JPG" data-mid="121351817" border="0"  src="https://freight.cargo.site/w/1000/i/5bcc4caf3df741a002b202115ef1d782692c5aa58b4fc00345e4a4340e8ec0dd/DSC05371.JPG" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/789dd6b37fc12c486ff5b2b3cb11b6875f840eb8b00181dd56c4b9a52664595c/DSC05497.JPG" data-mid="121351810" border="0"  src="https://freight.cargo.site/w/1000/i/789dd6b37fc12c486ff5b2b3cb11b6875f840eb8b00181dd56c4b9a52664595c/DSC05497.JPG" /&#62;
&#60;img width="1660" height="1183" width_o="1660" height_o="1183" data-src="https://freight.cargo.site/t/original/i/6889806824ff2f3629a1d0f9e125c865bcdf12c6d28601ab90a384edabd67dba/piedra7_peq.jpg" data-mid="121351787" border="0"  src="https://freight.cargo.site/w/1000/i/6889806824ff2f3629a1d0f9e125c865bcdf12c6d28601ab90a384edabd67dba/piedra7_peq.jpg" /&#62;


Flowing TimelineLínea de tiempo líquida


	The ‘flowing timeline’ represents a chronology with different layers of environmental and socio-political information about the Terraba Sierpe National Wetland and Costa Rica. It shows the evolution of environmental laws and land coverage over different time periods.&#38;nbsp; It also shows key points of economic and political change, as well as how conservation agendas have shifted over time to produce new forms of accumulation up to the present day. The materials used include Bordeaux mixture (copper sulphate), the first pesticide used in the country. The information gathered in the diagram comes from different sources such as B. Büscher &#38;amp; R. Fletcher's article Accumulation by Conservation, interviews with the local community, among others.&#38;nbsp;
	(ES) La línea de tiempo líquida representa una cronología con diferentes capas de información ambiental y sociopolítica sobre el HNTS y Costa Rica. En la pieza se puede encontrar la evolución de las leyes ambientales y la cobertura del suelo en esta zona durante diferentes períodos de tiempo. También muestra los puntos clave de cambios económicos y políticos, así como la forma en que las agendas de conservación se han desplazado a través del tiempo para producir nuevas formas de acumulación hasta nuestros días. Los materiales utilizados incluyen el caldo bordolés (sulfato de cobre),&#38;nbsp; primer plaguicida utilizado en el país. La información recogida en el diagrama proviene de diferentes fuentes como el artículo de B. Büscher &#38;amp; R. Fletcher Accumulation by Conservation, entrevistas con la comunidad local, entre otras.


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	Details. 2021.
	

The Collection


	The collection consists of a series of objects and materials brought from the wetland, as well as documentation images, photographs, and clay and sediment objects. The collection seeks to relate the tensions that monocultures generate with the materialities coming from the wetland. In order to generate these relationships, I started with the gesture of pressing, shrinking, and bordering, producing small pieces with banana, pineapple and sediment residues.
	(ES) La colección consta de una serie de objetos y materiales traídos del humedal, además de imágenes de documentación, fotografías, y objetos de arcilla y sedimento. La colección busca relacionar las presiones que los monocultivos generan con las materialidades provenientes del humedal. Para generar esas relaciones partí del gesto de presionar, encoger y colindar produciendo pequeñas piezas con residuos de banano, piña y sedimentos.


	&#60;img width="1244" height="1863" width_o="1244" height_o="1863" data-src="https://freight.cargo.site/t/original/i/77df38bd40d56a5ee186db7cfc2f46a23d85d8f159e33a1aaccc0375a2710439/pared-coleccion1-peq.jpg" data-mid="123962267" border="0"  src="https://freight.cargo.site/w/1000/i/77df38bd40d56a5ee186db7cfc2f46a23d85d8f159e33a1aaccc0375a2710439/pared-coleccion1-peq.jpg" /&#62;
	&#60;img width="1183" height="1772" width_o="1183" height_o="1772" data-src="https://freight.cargo.site/t/original/i/ac58fd76589208423502cc84ad3e5eba98b43b8a6f0d4bc6e0bf5d9d0431e8a8/pared-coleccion2-peq.jpg" data-mid="123962268" border="0"  src="https://freight.cargo.site/w/1000/i/ac58fd76589208423502cc84ad3e5eba98b43b8a6f0d4bc6e0bf5d9d0431e8a8/pared-coleccion2-peq.jpg" /&#62;


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(EN)Part of this research was carried out on the basis of field trips in collaboration with Soledad Castro, who was also an important part of this project, providing in-depth knowledge of the environmental and social issues in and around the wetland. My sincerest thanks to her. 

(Es) Parte de esta investigación fue realizada a partir de giras de campo en colaboración con Soledad Castro, &#38;nbsp;quién a su vez fue parte importante en este proyecto, al facilitar conocimientos sobre las problemáticas ambientales y sociales en el humedal y alrededores. Mi más sincero agradecimiento a ella.&#38;nbsp;</description>
		
	</item>
		
		
	<item>
		<title>Desborde: Afectaciones sobre un sujeto matérico</title>
				
		<link>https://dianabarquero.com/Desborde-Afectaciones-sobre-un-sujeto-materico</link>

		<pubDate>Tue, 12 Oct 2021 03:17:04 +0000</pubDate>

		<dc:creator>dianabarquero.com</dc:creator>

		<guid isPermaLink="true">https://dianabarquero.com/Desborde-Afectaciones-sobre-un-sujeto-materico</guid>

		<description>

Overflowing: Material Subject alterations
Desborde: afectaciones sobre un sujeto matérico2016-2018


&#38;nbsp; &#38;nbsp;(EN)&#38;nbsp;This research consists in a series of material&#38;nbsp;experimentations grouped under the concept of overflowing. In it I study the relationships and forces generated between a container and its content. This container reaches a limit, a breaking point or point of rupture. &#38;nbsp;In this moment&#38;nbsp; the overflow occurs, once the accumulated tension is liberated. This relationship container-content poses two possibilities: In the first one the container does not seem not to be affected by its content, while in the second possibility the container succumbs to the content, which results in both of them being affected.&#38;nbsp; &#38;nbsp; This concept, seen in the forces of nature (river, floods, tsunamis, volcano eruptions, red tides, etc.)&#38;nbsp; is also present in the human body and emotions. With this overflow a game of balance and imbalance is produced, one of forces that move and alter the matter contained, producing changes on the container and its content that are&#38;nbsp;sometimes perceptible and sometimes not.


&#60;img width="3901" height="2601" width_o="3901" height_o="2601" data-src="https://freight.cargo.site/t/original/i/6f70f7b47f851a6c186e4d9eb6e446862bf72d9522b3853e3c6143a5c3c99477/anthony1.jpg" data-mid="123963494" border="0"  src="https://freight.cargo.site/w/1000/i/6f70f7b47f851a6c186e4d9eb6e446862bf72d9522b3853e3c6143a5c3c99477/anthony1.jpg" /&#62;
Exhibition in Museo de Arte y Diseño Contemporáneo.San José, Costa Rica. 2017.
Winner of Francisco Amighetti National Prize 2018. 
Photo: Anthony Robinson.&#38;nbsp;&#38;nbsp;

Red clay, soil, water and acrylic container.&#38;nbsp;90×80×35cm.Salt block ,lamp, water.  3 video projections divided in 2 channels.2017.


(ES) Desborde: Afectaciones sobre un sujeto matérico

 Esta investigación consiste en una serie de experimentaciones matéricas agrupadas a partir del concepto del desborde. El desborde consiste en estudiar las relaciones y las fuerzas que se generan entre un contenedor y un contenido. Este contenedor (el cual es contenido por alguna sustancia) llega a un punto de límite, a un punto&#38;nbsp;de quiebre, de ruptura. Es en ese momento que&#38;nbsp;se genera el desborde, punto de liberación de la tensión acumulada. Esta relación de contenedor- contenido posee dos posibilidades: en la primera el contenedor no parece alterarse ante el contenido, en la segunda sucumbe con él, dándose una afectación en su materia. 
Este concepto, presente también en las fuerza de la naturaleza (inundaciones de ríos, tsunamis, erupciones volcánicas, etc.) también está presente en los procesos internos del cuerpo y las emociones. En el desborde se produce un juego de balance y desbalance, un juego de fuerzas que movilizan y alteran la materia contenida produciendo cambios a veces perceptibles, otras veces no, entre el contenedor y contenido. 


&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/649b9305a017b68d3b3a24428e33e73c0fada7bb66efd9aada66b0d769add3ae/IMG_0532.JPG" data-mid="123963554" border="0"  src="https://freight.cargo.site/w/1000/i/649b9305a017b68d3b3a24428e33e73c0fada7bb66efd9aada66b0d769add3ae/IMG_0532.JPG" /&#62;
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Exhibición en El Tanque, MADC,&#38;nbsp;San José, Costa Rica, 2017.&#38;nbsp;Pieza ganadora del Premio nacional de artes Francisco Amighetti, 2018.
Arcilla, tierra y agua en contenedor acrílicoBloque de sal, lámpara, agua.. 
3 videos en 2 canales.&#38;nbsp;


Videos:


Overflowing tracesHuellas del desborde

	(EN) Traces produced with carchoal and iron oxide by a chemical reaction with vinegar and sodium bicarbonate onto watercolor paper. &#38;nbsp;


	&#60;img width="1144" height="1816" width_o="1144" height_o="1816" data-src="https://freight.cargo.site/t/original/i/91e8e9e1626ad40e79ae7f024b84e0a1a8bb01cd4dd6fcc0bd9e3fad95ec89ea/capas-2.jpg" data-mid="123964356" border="0"  src="https://freight.cargo.site/w/1000/i/91e8e9e1626ad40e79ae7f024b84e0a1a8bb01cd4dd6fcc0bd9e3fad95ec89ea/capas-2.jpg" /&#62;
	&#60;img width="1180" height="1872" width_o="1180" height_o="1872" data-src="https://freight.cargo.site/t/original/i/4c0442a0da0a46be76f830a7aa0368ef37dea2e1f1618b9d7a911116a8161b27/capas-carbon1.jpg" data-mid="123964357" border="0"  src="https://freight.cargo.site/w/1000/i/4c0442a0da0a46be76f830a7aa0368ef37dea2e1f1618b9d7a911116a8161b27/capas-carbon1.jpg" /&#62;

	&#60;img width="1166" height="1827" width_o="1166" height_o="1827" data-src="https://freight.cargo.site/t/original/i/14563b72573d5f01acef7bb230353c5f26f8cb5dd12dcf35f203abdeab9b439f/efervescencia-oxido-de-hierro.jpg" data-mid="123964922" border="0"  src="https://freight.cargo.site/w/1000/i/14563b72573d5f01acef7bb230353c5f26f8cb5dd12dcf35f203abdeab9b439f/efervescencia-oxido-de-hierro.jpg" /&#62;

(ES) Huellas del desborde. Huellas de la reacción química producida por vinagre, bicarbonato de sodio, carbón y óxido de hierro sobre papel acuarela. 


ContainersContenedores

Water, soil, clay, plaster, salt.&#38;nbsp;
2017


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Photos courtesy of Daniela Morales.


Micro-landscapes IIMicropaisajes II
(EN) This work consisted of mapping different non- perceptible organisms (fungi and bacteria) that grow in different areas of the Contemporary art museum (MADC) and nearby. The contraposition of the macro and micro and its relationship with landscape is displayed by the use of the microscope, allowing the spectator to observe in big format the continuous growing of the different organisms as aerial landscapes.


&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/ddf320631df8886b57e4b9e569d89b37519e36d4e26422a9e219fd60e3ef0e0f/IMG_6028.JPG" data-mid="124180718" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/ddf320631df8886b57e4b9e569d89b37519e36d4e26422a9e219fd60e3ef0e0f/IMG_6028.JPG" /&#62;


(ES) Este trabajo consistió en el mapeo de diferentes organismos no perceptibles (hongos y bacterias) que crecen en diferentes zonas del museo (MADC) y alrededores. La contraposición de lo macro y lo micro y su relación con el paisaje se muestra mediante el uso del microscopio, permitiendo al espectador observar en gran formato el crecimiento continuo de los diferentes organismos como paisajes aéreos.


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&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5a016be247933f7d923421a5f765ce1821ca0b412000247e30fe474a49b2477a/20170724_115816.jpg" data-mid="124180769" border="0"  src="https://freight.cargo.site/w/1000/i/5a016be247933f7d923421a5f765ce1821ca0b412000247e30fe474a49b2477a/20170724_115816.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/034f10c798439ebea01544850c83f9908f86d65274335b4a52a1e64abb8e678f/20170724_115827.jpg" data-mid="124180770" border="0"  src="https://freight.cargo.site/w/1000/i/034f10c798439ebea01544850c83f9908f86d65274335b4a52a1e64abb8e678f/20170724_115827.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a711cb3e090f912950031abc4f3c1b396b88f26007620078cca60e60b83af238/20170724_120023.jpg" data-mid="124180776" border="0"  src="https://freight.cargo.site/w/1000/i/a711cb3e090f912950031abc4f3c1b396b88f26007620078cca60e60b83af238/20170724_120023.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/ba1dd42e799eb4d9c8db044052ceb0e7eb87c83d2540762a87b008ce16e0841e/20170724_120000.jpg" data-mid="124180774" border="0"  src="https://freight.cargo.site/w/1000/i/ba1dd42e799eb4d9c8db044052ceb0e7eb87c83d2540762a87b008ce16e0841e/20170724_120000.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/1d58fffa2e04b55f219525c96276b4853703bea4598308bca258b57f68d3f1c3/20170724_115943.jpg" data-mid="124180773" border="0"  src="https://freight.cargo.site/w/1000/i/1d58fffa2e04b55f219525c96276b4853703bea4598308bca258b57f68d3f1c3/20170724_115943.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/393a734781c84fa0693d0c75033bb99034b432f1200508c37c5f38b1c931d078/20170724_115907.jpg" data-mid="124180772" border="0"  src="https://freight.cargo.site/w/1000/i/393a734781c84fa0693d0c75033bb99034b432f1200508c37c5f38b1c931d078/20170724_115907.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Cinchona: La ruina como elemento de memoria del suceso histórico</title>
				
		<link>https://dianabarquero.com/Cinchona-La-ruina-como-elemento-de-memoria-del-suceso-historico</link>

		<pubDate>Tue, 12 Oct 2021 03:17:04 +0000</pubDate>

		<dc:creator>dianabarquero.com</dc:creator>

		<guid isPermaLink="true">https://dianabarquero.com/Cinchona-La-ruina-como-elemento-de-memoria-del-suceso-historico</guid>

		<description>Cinchona’s Catastrophe: Landscape, Fragment and Memory
Cinchona: La ruina como elemento de memoria del suceso histórico
2013-2014


&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/be69027fb4a16396d94caf2e41e89c159f6a6ae6e0470473856a50c16c0004d9/_MG_4567.JPG" data-mid="124928468" border="0" data-scale="74" src="https://freight.cargo.site/w/1000/i/be69027fb4a16396d94caf2e41e89c159f6a6ae6e0470473856a50c16c0004d9/_MG_4567.JPG" /&#62;&#38;nbsp;Photograph on site. 2012.

(EN) This project aims to study the concepts of landscape, ruins and memory in direct relation to the altered landscape of Cinchona, a town in Alajuela, Costa Rica that was destroyed by an earthquake in 2009. The mentioned concepts are employed to relate them with catastrophe and how they reflect on the landscape. The methodology of this proposal consisted, on the one hand, of a theoretical investigation of the concepts of memory, landscape and fragment, and on the other, a series of &#38;nbsp;visual experimentations that emerged from visits to the affected space, establishing different routes, recovering materials and objects and documenting the affected areas. The works shown below were made using documentation and materials recovered from the field investigation. Visually I use the &#38;nbsp;processes of destruction caused by the earthquake as a strategy; shock, destruction, cracking and fragmentation are some of the visual strategies employed.


&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/9c46daa357156906b2c81e58358171be470f94373dce63ad82bfb73f840263b5/_MG_4591.JPG" data-mid="124928477" border="0"  src="https://freight.cargo.site/w/1000/i/9c46daa357156906b2c81e58358171be470f94373dce63ad82bfb73f840263b5/_MG_4591.JPG" /&#62;
Documentation, 2012


(ES)&#38;nbsp;El eje temático de esta investigación gira en torn&#38;nbsp;a la catástrofe del terremoto ocurrido en Cinchona (Alajuela, Costa Rica) del 2009 y las ruinas y vestigios que quedaron posterior al suceso. Cómo el paisaje&#38;nbsp;y el territorio se vieron alterados es una de las preocupaciones principales de esta investigación.El fragmento, el territorio y la memoria son los conceptos utilizados para relacionar la catástrofe&#38;nbsp;y su afectación sobre el paisaje. Mediante la apropiación artística de estos conceptos se busca generar una reactivación del paisaje, utilizando la documentación directa del territorio afectado.&#38;nbsp;La metodología de esta propuesta consistió,&#38;nbsp;por un lado, de una investigación teórica de los conceptos de paisaje, memoria y fragmento y&#38;nbsp;por otra parte, de experimentación visual. Esta experimentación surge a partir de una serie de visitas de campo al espacio afectado, estableciendo diferentes recorridos, recuperando materiales y objetos en el lugar del sismo, y documentando los espacios visitados.En la producción artística propiamente utilizo como estrategia los procesos mismos de destrucción ocasionados por el terremoto; el choque, la destrucción, el resquebrajamiento y la fragmentación son algunas estrategias visuales utilizadas.


Video
(EN) Consists of 3 views from Cinchona’s ruins window frames11 min. 2013.&#38;nbsp;


&#60;img width="2876" height="1618" width_o="2876" height_o="1618" data-src="https://freight.cargo.site/t/original/i/84c6ca90b14e79f2dd90d56c597359bcc509fa95b5564edf5c9a5049882f55bf/Captura-de-Pantalla-2021-11-17-a-las-20.58.00.png" data-mid="124928818" border="0"  src="https://freight.cargo.site/w/1000/i/84c6ca90b14e79f2dd90d56c597359bcc509fa95b5564edf5c9a5049882f55bf/Captura-de-Pantalla-2021-11-17-a-las-20.58.00.png" /&#62;
&#60;img width="2874" height="1622" width_o="2874" height_o="1622" data-src="https://freight.cargo.site/t/original/i/dfaba33b3783e233a33582767aa4513d10599a15b772ed0947b48101624358ba/Captura-de-Pantalla-2021-11-17-a-las-20.57.42.png" data-mid="124928817" border="0"  src="https://freight.cargo.site/w/1000/i/dfaba33b3783e233a33582767aa4513d10599a15b772ed0947b48101624358ba/Captura-de-Pantalla-2021-11-17-a-las-20.57.42.png" /&#62;
&#60;img width="2874" height="1604" width_o="2874" height_o="1604" data-src="https://freight.cargo.site/t/original/i/dbaa07045900ed94b872821bffc726b283ec3050cec09edc274afdae3b6aa0b0/Captura-de-Pantalla-2021-11-17-a-las-20.58.51.png" data-mid="124928819" border="0"  src="https://freight.cargo.site/w/1000/i/dbaa07045900ed94b872821bffc726b283ec3050cec09edc274afdae3b6aa0b0/Captura-de-Pantalla-2021-11-17-a-las-20.58.51.png" /&#62;


(ES) Consiste en tres vistas desde los marcos de las ventanas de las ruinas de Cinchona. 
11 minutos, 2013


Photographic Mural&#38;nbsp;Mural fotográfico sobre Cinchona


&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/f6533e2997fcad243bf5a9533aa245bbe7f9903b5ea6cc61899200654db6dd00/_MG_6280.JPG" data-mid="124929485" border="0"  src="https://freight.cargo.site/w/1000/i/f6533e2997fcad243bf5a9533aa245bbe7f9903b5ea6cc61899200654db6dd00/_MG_6280.JPG" /&#62;


Approximately 50 intervened photographs
Installation measurements: 3×1,5m.
Photographs measurements: 10×15cm and 20×25cm.
The interventions on the photographs were made using bleach, exacto knife, scratching and inking.
2014


&#60;img width="2393" height="1787" width_o="2393" height_o="1787" data-src="https://freight.cargo.site/t/original/i/d09c06d902946fff48b2aade7d0a64b68b62abd5335b0ce3092bb45f1a926e8f/sin-retablar3.jpg" data-mid="124929487" border="0"  src="https://freight.cargo.site/w/1000/i/d09c06d902946fff48b2aade7d0a64b68b62abd5335b0ce3092bb45f1a926e8f/sin-retablar3.jpg" /&#62;
&#60;img width="2395" height="1788" width_o="2395" height_o="1788" data-src="https://freight.cargo.site/t/original/i/db0b5e3f6cfa13a913d267dc8b968b01d47a75a32052b72d06ad9a325ff8b34d/sinretablar.jpg" data-mid="124929488" border="0"  src="https://freight.cargo.site/w/1000/i/db0b5e3f6cfa13a913d267dc8b968b01d47a75a32052b72d06ad9a325ff8b34d/sinretablar.jpg" /&#62;
&#60;img width="2378" height="1795" width_o="2378" height_o="1795" data-src="https://freight.cargo.site/t/original/i/286e17a9595007a6c9a617ba572892ead668728f96cef2743cb925d6434376ef/sin-retablar2.jpg" data-mid="124929486" border="0"  src="https://freight.cargo.site/w/1000/i/286e17a9595007a6c9a617ba572892ead668728f96cef2743cb925d6434376ef/sin-retablar2.jpg" /&#62;
&#60;img width="2773" height="1947" width_o="2773" height_o="1947" data-src="https://freight.cargo.site/t/original/i/68c76bd101251a4a14751476dac5c943a9372f3277b050b83066e22343f3593c/fotocuchilla2.jpg" data-mid="124929896" border="0"  src="https://freight.cargo.site/w/1000/i/68c76bd101251a4a14751476dac5c943a9372f3277b050b83066e22343f3593c/fotocuchilla2.jpg" /&#62;
&#60;img width="2773" height="1947" width_o="2773" height_o="1947" data-src="https://freight.cargo.site/t/original/i/83380d0b5076a344103f6824b8c80655b1767893003d551b7ffbbfcf96106df5/fotocuchilla.jpg" data-mid="124929895" border="0"  src="https://freight.cargo.site/w/1000/i/83380d0b5076a344103f6824b8c80655b1767893003d551b7ffbbfcf96106df5/fotocuchilla.jpg" /&#62;
&#60;img width="2688" height="1947" width_o="2688" height_o="1947" data-src="https://freight.cargo.site/t/original/i/5aadf1542685ed3edafc0267820088089de5a6ff1028d045fa270914680f07a4/fotocloro.jpg" data-mid="124929894" border="0"  src="https://freight.cargo.site/w/1000/i/5aadf1542685ed3edafc0267820088089de5a6ff1028d045fa270914680f07a4/fotocloro.jpg" /&#62;
&#60;img width="2688" height="1947" width_o="2688" height_o="1947" data-src="https://freight.cargo.site/t/original/i/5aadf1542685ed3edafc0267820088089de5a6ff1028d045fa270914680f07a4/fotocloro.jpg" data-mid="124929894" border="0"  src="https://freight.cargo.site/w/1000/i/5aadf1542685ed3edafc0267820088089de5a6ff1028d045fa270914680f07a4/fotocloro.jpg" /&#62;
&#60;img width="2393" height="1787" width_o="2393" height_o="1787" data-src="https://freight.cargo.site/t/original/i/d09c06d902946fff48b2aade7d0a64b68b62abd5335b0ce3092bb45f1a926e8f/sin-retablar3.jpg" data-mid="124929487" border="0"  src="https://freight.cargo.site/w/1000/i/d09c06d902946fff48b2aade7d0a64b68b62abd5335b0ce3092bb45f1a926e8f/sin-retablar3.jpg" /&#62;

(ES) 
Aproximadamente 50 fotografías intervenidas
Medidas de la instalación: 3×1,5m.
Medidas de las fotografías: 10×15cm y 20×25cm.
Las intervenciones sobre las fotografías se realizaron con lejía, cuchillo exacto, rayado y entintado. 
2014


Transfers on a blurred horizonTransferencias sobre un horizonte desdibujado


&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/36671afaebb3d4cccaa6bd22428f382638989dddb4c6ba88e6f1310a0a39ba21/_MG_6267-copy.jpg" data-mid="124930143" border="0"  src="https://freight.cargo.site/w/1000/i/36671afaebb3d4cccaa6bd22428f382638989dddb4c6ba88e6f1310a0a39ba21/_MG_6267-copy.jpg" /&#62;


9 cement plates with photographic prints.Measurements of each plate vary between 15×10cm and 25×15cm.Installation measurements on wall: 2,20m.2014


&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/0daa4fd1c26e78f5a16588ece2f0c4c5a313cb6b664681efd1686ebc1e44d9f7/_MG_6240.JPG" data-mid="124930133" border="0"  src="https://freight.cargo.site/w/1000/i/0daa4fd1c26e78f5a16588ece2f0c4c5a313cb6b664681efd1686ebc1e44d9f7/_MG_6240.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/0ed1b6c6a32530c1359f604176c866b6fcd4c8567af6024d744f16d06ab5af92/_MG_6238.JPG" data-mid="124930132" border="0"  src="https://freight.cargo.site/w/1000/i/0ed1b6c6a32530c1359f604176c866b6fcd4c8567af6024d744f16d06ab5af92/_MG_6238.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/38703f86066ffb187d7bd6d205f5d6dc60b3575bf6e86da8ca14ccf88108c14a/_MG_6236.JPG" data-mid="124930131" border="0"  src="https://freight.cargo.site/w/1000/i/38703f86066ffb187d7bd6d205f5d6dc60b3575bf6e86da8ca14ccf88108c14a/_MG_6236.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/b3dbea7bc4dfd1b79863bcaa48c3e7560bc6f8defc432ed570cf89f62874b908/_MG_6241.JPG" data-mid="124930135" border="0"  src="https://freight.cargo.site/w/1000/i/b3dbea7bc4dfd1b79863bcaa48c3e7560bc6f8defc432ed570cf89f62874b908/_MG_6241.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/ddc8975d61ad0dc1b40d3832060cb04847549cd212efcd30906f409728738c92/_MG_6242.JPG" data-mid="124930136" border="0"  src="https://freight.cargo.site/w/1000/i/ddc8975d61ad0dc1b40d3832060cb04847549cd212efcd30906f409728738c92/_MG_6242.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/078abba9d47d6162cda274b0e36b9fbbc94b97042d52704628cae47528341fc8/_MG_6259.JPG" data-mid="124930142" border="0"  src="https://freight.cargo.site/w/1000/i/078abba9d47d6162cda274b0e36b9fbbc94b97042d52704628cae47528341fc8/_MG_6259.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/4f1cb8f5a3f06eca0501557db56a468a2551db481416d6176ebbd5eaaac7f8b5/_MG_6254.JPG" data-mid="124930141" border="0"  src="https://freight.cargo.site/w/1000/i/4f1cb8f5a3f06eca0501557db56a468a2551db481416d6176ebbd5eaaac7f8b5/_MG_6254.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/a4b114e5749b4a92143fc285b69c835376a325cdf914a69fef626ede15e9440f/_MG_6253.JPG" data-mid="124930140" border="0"  src="https://freight.cargo.site/w/1000/i/a4b114e5749b4a92143fc285b69c835376a325cdf914a69fef626ede15e9440f/_MG_6253.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/8077cde17071126fe6768db3a8f2731982bb28d5992cce70ea67fb241a2b6b1b/_MG_6251.JPG" data-mid="124930139" border="0"  src="https://freight.cargo.site/w/1000/i/8077cde17071126fe6768db3a8f2731982bb28d5992cce70ea67fb241a2b6b1b/_MG_6251.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/86dfc749b75ad5670e1df7640cc23db2bbbc2b287cb7d2982d6b8c9d676a8149/_MG_6246.JPG" data-mid="124930138" border="0"  src="https://freight.cargo.site/w/1000/i/86dfc749b75ad5670e1df7640cc23db2bbbc2b287cb7d2982d6b8c9d676a8149/_MG_6246.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/fb20858f70b782d55b6c14be4eed7d017468f9d4d45de5851dfc4306454373d9/_MG_6244.JPG" data-mid="124930137" border="0"  src="https://freight.cargo.site/w/1000/i/fb20858f70b782d55b6c14be4eed7d017468f9d4d45de5851dfc4306454373d9/_MG_6244.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/fb20858f70b782d55b6c14be4eed7d017468f9d4d45de5851dfc4306454373d9/_MG_6244.JPG" data-mid="124930137" border="0"  src="https://freight.cargo.site/w/1000/i/fb20858f70b782d55b6c14be4eed7d017468f9d4d45de5851dfc4306454373d9/_MG_6244.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/0daa4fd1c26e78f5a16588ece2f0c4c5a313cb6b664681efd1686ebc1e44d9f7/_MG_6240.JPG" data-mid="124930133" border="0"  src="https://freight.cargo.site/w/1000/i/0daa4fd1c26e78f5a16588ece2f0c4c5a313cb6b664681efd1686ebc1e44d9f7/_MG_6240.JPG" /&#62;

(ES)
9 placas de cemento con impresiones fotográficas.
Las medidas de cada placa varían entre 15×10cm y 25×15cm.
Medidas de la instalación en la pared: 2,20m.
2014


Fraijanes School: excavations and remainsEscuela de Fraijanes: restos y excavaciones


&#60;img width="1916" height="1275" width_o="1916" height_o="1275" data-src="https://freight.cargo.site/t/original/i/bd26fcc5fa20a1797f3173ac813b8e8bf982a9b668d038aa394ab0f73a8817c2/_MG_6113.JPG" data-mid="124932881" border="0"  src="https://freight.cargo.site/w/1000/i/bd26fcc5fa20a1797f3173ac813b8e8bf982a9b668d038aa394ab0f73a8817c2/_MG_6113.JPG" /&#62;Installation of approximately 30 recovered objects from the ruins of Fraijanes School.
Measurements depends on the exhibition space.
2014


&#60;img width="1288" height="1936" width_o="1288" height_o="1936" data-src="https://freight.cargo.site/t/original/i/ee8d0297bcd9c15444a843ae3a3572049d77abdd7ca6deb17f3ba222a41170c4/_MG_6088-copy.jpg" data-mid="124932880" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/ee8d0297bcd9c15444a843ae3a3572049d77abdd7ca6deb17f3ba222a41170c4/_MG_6088-copy.jpg" /&#62;(ES)
Instalación de aproximadamente 30 objetos encontrados en las ruinas de la escuela de Fraijanes.
Tamaño de instalación depende del espacio.
2014


&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/79d62189913bec5e05acc8a24c629640abdc4fd4b829f5145187c43216075f11/_MG_6066-copia.JPG" data-mid="124932876" border="0"  src="https://freight.cargo.site/w/1000/i/79d62189913bec5e05acc8a24c629640abdc4fd4b829f5145187c43216075f11/_MG_6066-copia.JPG" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/89591c57b328a81adb8fc892e197704e44c0dd04969697c2f355f9995c6fddb3/_MG_6068.JPG" data-mid="124932877" border="0"  src="https://freight.cargo.site/w/1000/i/89591c57b328a81adb8fc892e197704e44c0dd04969697c2f355f9995c6fddb3/_MG_6068.JPG" /&#62;


The IsleLa Isla


&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/ae704829cac369db7a223120bdb7c22c36d26af361487cd0c08d4fc64bd426d5/_MG_6192.JPG" data-mid="124933218" border="0"  src="https://freight.cargo.site/w/1000/i/ae704829cac369db7a223120bdb7c22c36d26af361487cd0c08d4fc64bd426d5/_MG_6192.JPG" /&#62;
Fragment of ruin.
Approximate measurements: 30×20×10cm.
2014


&#60;img width="1288" height="1936" width_o="1288" height_o="1936" data-src="https://freight.cargo.site/t/original/i/585c56644f8677b6875bcf2250b97bb6db630518a7b1a63405f55915634c0998/_MG_6201.JPG" data-mid="124183547" border="0"  src="https://freight.cargo.site/w/1000/i/585c56644f8677b6875bcf2250b97bb6db630518a7b1a63405f55915634c0998/_MG_6201.JPG" /&#62;

(ES)
fragmento de ruina.&#38;nbsp;
2014.


Micro-landscapesMicropaisajes


&#60;img width="5906" height="3853" width_o="5906" height_o="3853" data-src="https://freight.cargo.site/t/original/i/02d2e2e7ef32637cd566d12e2dcc035fc289ad954772203208f8d7a2c9ae5be9/vista-aerea.jpg" data-mid="124933527" border="0"  src="https://freight.cargo.site/w/1000/i/02d2e2e7ef32637cd566d12e2dcc035fc289ad954772203208f8d7a2c9ae5be9/vista-aerea.jpg" /&#62;10 acrylic boxes with fragments of ruins, plaster and wood.
Box size: 26×20×8cm. 
2014


&#60;img width="1936" height="1223" width_o="1936" height_o="1223" data-src="https://freight.cargo.site/t/original/i/fdfc2384c5b850d31a5d16e0a47a66430d9755748d841bcfaa4b9ca37d37d60b/_MG_6146copy.jpg" data-mid="124933347" border="0"  src="https://freight.cargo.site/w/1000/i/fdfc2384c5b850d31a5d16e0a47a66430d9755748d841bcfaa4b9ca37d37d60b/_MG_6146copy.jpg" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/f5581b576850bccf258231e9da0c2c9fd9c99c1368db3cb95db67e045794270a/_MG_6209copy.jpg" data-mid="124933356" border="0"  src="https://freight.cargo.site/w/1000/i/f5581b576850bccf258231e9da0c2c9fd9c99c1368db3cb95db67e045794270a/_MG_6209copy.jpg" /&#62;

(ES)
10 cajas acrílicas conteniendo fragmentos de ruina y yeso sobre madera.
Tamaño de cada caja 26×20×8cm.
2014


&#60;img width="2258" height="1107" width_o="2258" height_o="1107" data-src="https://freight.cargo.site/t/original/i/ee69ce2256bab8bbf55ac450b70c6c8c8fcd1c293af61e652542d1ed504b23aa/conjunto-de-cajas3.jpg" data-mid="124933351" border="0"  src="https://freight.cargo.site/w/1000/i/ee69ce2256bab8bbf55ac450b70c6c8c8fcd1c293af61e652542d1ed504b23aa/conjunto-de-cajas3.jpg" /&#62;

&#60;img width="3300" height="2550" width_o="3300" height_o="2550" data-src="https://freight.cargo.site/t/original/i/953234edf09b7adbcc96e1dcbc185dd14c875ede51ae25aaadf476eab30a7a83/juegos-de-cajas2.jpg" data-mid="124933361" border="0"  src="https://freight.cargo.site/w/1000/i/953234edf09b7adbcc96e1dcbc185dd14c875ede51ae25aaadf476eab30a7a83/juegos-de-cajas2.jpg" /&#62;


Exhibition View
Vistas de la exhibición


&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/5322f78df5bbd88217f12b994111532b4579b7fa66e8ee6eecbd3281eb9bb524/vista-sin-diana-0.jpg" data-mid="124927853" border="0"  src="https://freight.cargo.site/w/1000/i/5322f78df5bbd88217f12b994111532b4579b7fa66e8ee6eecbd3281eb9bb524/vista-sin-diana-0.jpg" /&#62;
&#60;img width="1936" height="1288" width_o="1936" height_o="1288" data-src="https://freight.cargo.site/t/original/i/262c632d333020f547c306d236d44a9212d14fb7bcff6893506c6fa14bd7bea3/_MG_6009.JPG" data-mid="124925317" border="0"  src="https://freight.cargo.site/w/1000/i/262c632d333020f547c306d236d44a9212d14fb7bcff6893506c6fa14bd7bea3/_MG_6009.JPG" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Del cine a la pintura</title>
				
		<link>https://dianabarquero.com/Del-cine-a-la-pintura</link>

		<pubDate>Thu, 11 Nov 2021 03:10:14 +0000</pubDate>

		<dc:creator>dianabarquero.com</dc:creator>

		<guid isPermaLink="true">https://dianabarquero.com/Del-cine-a-la-pintura</guid>

		<description>
	“Do I add to the images in movies? I don’t think so; I don’t have time: in front of the screen, I am not free to shut my eyes; otherwise, opening them again, I would not discover the same image; I am constrained to a continuous voracity; a host of other qualities, but not pensiveness, whence the interest, for me, of the photogram.”
 
Roland Barthes, 
Camera Lucida.
	2008-2012


From Film to PaintingAbout Cinema

(EN) This exhibition sought to construct a dialogue between pictorial and film language, utilizing visual language as a way to establish parallelisms and dissonances between them. I have a particular interest in the way a cinematograph works, through its continuous transmission of images, and cinema’s use of time. I am also interested in painting’s time and its forms of contemplation, in terms of its spatiality, temporality and memory. Cinema is an image constructor and thereby has an inherent relation to other visual languages like painting.
&#38;nbsp; &#38;nbsp; Action in film involves the succession of photograms, in which each photogram annuls the previous one from the observer’s memory. This means constantly remembering and forgetting a vast quantity of images in a short amount of time. In this investigation, the act of painting consists of preserving an image as a memory in the observer’s eye. The photogram, extracted from its sequentiality, acquires more importance in the observer’s memory.


Del cine a la pintura

(ES) Esta exposición procuró establecer un diálogo entre el lenguaje pictórico y cinematográfico utilizando&#38;nbsp;el lenguaje visual como forma de entablar paralelismos y disonancias entre ambos. Tengo&#38;nbsp;un particular interés en las peculiaridades del funcionamiento del cinematógrafo y los tiempos del cine, así como los tiempos de la pintura y sus formas de contemplación, en torno a sus nociones de espacialidad, temporalidad y memoria. De esta forma parto de la premisa de que el cine es antes de todo una construcción de imágenes, y por&#38;nbsp;tanto preserva dentro de sí relaciones con otros lenguajes visuales que le han precedido (como lo es la pintura).
&#38;nbsp; &#38;nbsp; La acción de cine involucra la sucesión de fotograma tras fotograma, en el cual el sucesor anula al anterior en la memoria del espectador; se da así un recuerdo y olvido constantes de una inmensa cantidad de imágenes en un tiempo determinado.&#38;nbsp;En este acto de pintar se involucra el congelamiento de una imagen cinematográfica manteniéndola así como un recuerdo fijo en la memoria. El fotograma al estar retraído de su condición de secuencialidad adquiere una importancia mayor en la memoria&#38;nbsp;del espectador.

&#60;img width="1819" height="1621" width_o="1819" height_o="1621" data-src="https://freight.cargo.site/t/original/i/63a1f0a8831cbb8ba7b09fbfbee29de2ef3abe56e5732264e7aad96b16013c99/abstraccion.jpg" data-mid="124187059" border="0"  src="https://freight.cargo.site/w/1000/i/63a1f0a8831cbb8ba7b09fbfbee29de2ef3abe56e5732264e7aad96b16013c99/abstraccion.jpg" /&#62;
Untitled
Oil on canvas 50,5×44cm2014

&#60;img width="2200" height="1788" width_o="2200" height_o="1788" data-src="https://freight.cargo.site/t/original/i/1cbc7276b282a362878c988427236ebab0650a7dbf9ae0b9952fa9d6ed0a9134/coincidencia1.jpg" data-mid="124999392" border="0"  src="https://freight.cargo.site/w/1000/i/1cbc7276b282a362878c988427236ebab0650a7dbf9ae0b9952fa9d6ed0a9134/coincidencia1.jpg" /&#62;
Coincidence 1Coincidencia 1
Oil on canvas 52×44cm 
2010


&#60;img width="2168" height="1780" width_o="2168" height_o="1780" data-src="https://freight.cargo.site/t/original/i/d24353181ce9e03a8e00a48b5f7375fa4f465df50dc681393fe4e55d95ef88cd/coincidencia2.jpg" data-mid="124999393" border="0"  src="https://freight.cargo.site/w/1000/i/d24353181ce9e03a8e00a48b5f7375fa4f465df50dc681393fe4e55d95ef88cd/coincidencia2.jpg" /&#62;
&#60;img width="2494" height="3527" width_o="2494" height_o="3527" data-src="https://freight.cargo.site/t/original/i/543d3381cec8ebe9bad14f6984f22ec7a6f22cf78c7a32ccabe568b23b36a7fb/coincidencia.jpg" data-mid="124999390" border="0"  src="https://freight.cargo.site/w/1000/i/543d3381cec8ebe9bad14f6984f22ec7a6f22cf78c7a32ccabe568b23b36a7fb/coincidencia.jpg" /&#62;
&#60;img width="2624" height="1756" width_o="2624" height_o="1756" data-src="https://freight.cargo.site/t/original/i/864721ad9e516e373505c9478ea9d2ea9363ecc5f538b93ae1e5e92df7fb2219/cuclillas.jpg" data-mid="124999395" border="0"  src="https://freight.cargo.site/w/1000/i/864721ad9e516e373505c9478ea9d2ea9363ecc5f538b93ae1e5e92df7fb2219/cuclillas.jpg" /&#62;
&#60;img width="1968" height="1440" width_o="1968" height_o="1440" data-src="https://freight.cargo.site/t/original/i/bb7af7f40af56f986d93e128b47177ec8bf58687fc7c311d5b02a6b9b6059bf1/escenaspreparadas.jpg" data-mid="124999397" border="0"  src="https://freight.cargo.site/w/1000/i/bb7af7f40af56f986d93e128b47177ec8bf58687fc7c311d5b02a6b9b6059bf1/escenaspreparadas.jpg" /&#62;
&#60;img width="1853" height="1285" width_o="1853" height_o="1285" data-src="https://freight.cargo.site/t/original/i/56846f14a04e5845f9e8e5bb9ad7eba31462b39881e25823548388a6bfb6c601/ellugardelalengua.jpg" data-mid="124999396" border="0"  src="https://freight.cargo.site/w/1000/i/56846f14a04e5845f9e8e5bb9ad7eba31462b39881e25823548388a6bfb6c601/ellugardelalengua.jpg" /&#62;


&#60;img width="217" height="393" width_o="217" height_o="393" data-src="https://freight.cargo.site/t/original/i/81265eb543da74340f783c10df354304bb2d3e44a4a2791a9e5b189bda12340c/cajaluz2.jpg" data-mid="124999387" border="0"  src="https://freight.cargo.site/w/217/i/81265eb543da74340f783c10df354304bb2d3e44a4a2791a9e5b189bda12340c/cajaluz2.jpg" /&#62;
&#60;img width="251" height="500" width_o="251" height_o="500" data-src="https://freight.cargo.site/t/original/i/630c4da9c1a199c161b2a9ca2966ee1f6a8dbfcef8ec0799971b75fdd7ef03c7/cajaluz3.jpg" data-mid="124999388" border="0"  src="https://freight.cargo.site/w/251/i/630c4da9c1a199c161b2a9ca2966ee1f6a8dbfcef8ec0799971b75fdd7ef03c7/cajaluz3.jpg" /&#62;
&#60;img width="320" height="240" width_o="320" height_o="240" data-src="https://freight.cargo.site/t/original/i/051c1d1975122778c08b839094365df982c477481b19f7517c9a736645dceb66/cajaluz4.jpg" data-mid="124999389" border="0"  src="https://freight.cargo.site/w/320/i/051c1d1975122778c08b839094365df982c477481b19f7517c9a736645dceb66/cajaluz4.jpg" /&#62;


One-second Painting
Un segundo en pintura
24 cajas de luz. Óleo sobre papel.&#38;nbsp;

24 oil on paper light boxes 236×12×8cm
2008
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;</description>
		
	</item>
		
		
	<item>
		<title>Proyectos colaborativos</title>
				
		<link>https://dianabarquero.com/Proyectos-colaborativos</link>

		<pubDate>Thu, 18 Nov 2021 18:52:22 +0000</pubDate>

		<dc:creator>dianabarquero.com</dc:creator>

		<guid isPermaLink="true">https://dianabarquero.com/Proyectos-colaborativos</guid>

		<description>In Contruction. 
Coming soon!</description>
		
	</item>
		
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