Tag Archive for 'lucy garcia'

Lucy García at RD Fashion Week 2010

Limber Vilorio. "Martirio de San Sebastián"

Limber Vilorio. "De la serie ahogados 3D"

Limber Vilorio. "De la serie ahogados 3D"

Limber Vilorio. "De la serie perfume de mujer"

Limber Vilorio. "De la serie perfume de mujer"

YIPETOCRACIA en el Centro Cultural de España 2010

Desde el 26 de noviembre al 21 de diciembre 2010

"Anatomía del Poder" (detalle)

"Anatomía del Poder" (detalle)

YIPETOCRACIA

Poderosa, imponente circula irrespetuosa “a todo terreno” por las cráteres-calles con nombres de héroes olvidados…(que ni siquiera  tuvieron carros) La nueva especie. Reina y señora de la “selva”: La Yipeta.

Avanza brillante como un espejo ,donde se reflejan parques con faunas deformes, representa  el status symbol del éxito con sus vidrios tintados para no dejar atisbar sonrisas..ni miradas sin tiempo… En el frente, dos potentes focos a manera de “ojos de cangrejo”escrutan la obscuridad y asustan al peligro. A su paso la prisa por llegar a ninguna parte las hace subirse a las aceras, despertando  a los charcos que duermen su sueño de desechos ahogados  de una “metrópolis” envejecida prematuramente…o se deslizan por los “elevados-trincheras” dejando grabadas las huellas  de sus gomas cual tatuajes en la talvia reblandecida por un sol que cuelga de un cielo polucionado…. Para adentrarse veloces en la negra boca de los túneles,  gusanos subterráneos que son termómetros del progreso.

Y la vida se acelera…coge varias vías, el ritmo es enloquecedor…la fila interminable!

Y bajo el palio de un atardecer caribeño malva y gris, parpadean  las luces de la ciudad y suenan estridentes las bocinas  infernales que anuncian  que otra  función del circo va a iniciar.

Antes del ahora…cuando el “antes” era menos ostentoso…y pertenecía a  una clase privilegiada pero quizás con mas valores, el ascenso de las clases sociales era definido por los carros de grandes marcas.Y  para ser mostrados por sus orgullosos dueños requerían vías sin baches, aparte de cierto respeto a las reglas de transito.

Hasta que estos carros”Barbies” fueron substituidos por la fauna de las Yipetas fauna del “PODER”…poder mayúsculo…poder que arrasa y no respeta ni reglas ni señales y que no teme al mal estado de las calles porque como los “Transformers” son superpoderosos  y es un lujo circular encerrados en cajas de acero y plástico, blindadas y climatizadas con música atronadora para no oír…vidrios tintados para no ver…es la marca del “Turpen” otrora “Tutumpote” el que derrocha billetes y monta sirenas de fiberglass hechas por encargo …a toda prisa para ser consumidas en locas noches que al amanecer escapan confundidas con la arenilla negra que exhalan los tubos de escape…antes de que salga el sol y con el las obligaciones de construir el presente y diseñar un futuro aun mas potente!

Degenerara en una guerra urbana la toma de la ciudad por las yipetas?

Se aliaran los ciclistas peatones y todos los que utilizan medios de transportes tradicionales , contra su fuerza avasalladora , y como modernos mártires emularan a los primigenios cristianos devorados por los leones en el circo…inmolandose en coliseos elevados de doble via?

Mientras vemos impasibles el deterioro detenerse ante los cristales azulados del ultimo mall …O vendamos nuestras almas a cambio de yipetas para sobrevivir… y ataviados de caos sumarnos a las legiones de moda?

O quizás los mas aguerridos se pongan “El traje para caminar por la ciudad” con su segunda piel hecha de puntadas de dolor..de metal y plástico y sus escapularios de deidades desconocidas inicien una nueva cruzada?

Y detrás de sus mascaras de oxigeno puedan esbozar una sonrisa , hacer un guiño de esperanza a generaciones nuevas….que van llegando…y llenan las calles a toda velocidad!

Ivan Miura

nov.2010

Fauna Urbana / Instalación 6 esculturas sobre mesa con luz integrada / 2010

Fauna Urbana / Instalación 6 esculturas sobre mesa con luz integrada / 40 x 120 x 360 cm. / 2010

Fauna Urbana (detalle de king kong)

Fauna Urbana (detalle de araña gigante)

Fauna Urbana (detalle de elefante glotón)

Fauna Urbana (detalle de jirafa burlona)

Fauna Urbana (detalle de yipetal animal)

Fauna Urbana (detalle de águila sin cuerpo)

YIPETOCRACY


Powerful and imposing, driving disrispectful and “at great speed, goes from place to place, through the crater-streets, with forgotten heroes names (that didn’t evenhad cars) the Yipeta, the lady and queen of the “jungle”, as the new species.This vehicle with two powerful lights on its front, as a manner of “crab eyes”, that scrutinize the darkness and frighten the danger, advances brilliant as a mirror, where parks with deformed faunas are reflected and with tinted glasses to block glimpses of smiles and timeless looks, representing the social status symbol of success.

The haste to arrive nowhere makes it climb to the sidewalks in its way and awake the pools that have been dreaming in their sleep of drowned junk coming from a prematurely aged ”metropolis” or to slide by the “risen trenches” in wich they leave their pneumatic marks as tattoos on the asphalt that has been softened by a sun that hangs from a polluted firmament to penetrate at full speed into the tunnel’s black mouth, that, as subterranean warms are progress thermometers.

Under the maddening rhythm of an accelerated life takes various roads where interminable rows have formed. And it is under the mantle of a mauve and gray caribbean sunset that the city lights twinkle and the strident sound of the infernal horns announce that another circus function is going to initiate.

Before the present times, when the past was less ostentatious and belonged to a priviledged class, perhaps with higher values, the promotion of the social classes was determined by the ownership of vehicles with great brands and to exhibit them their proud owners required good roads without batches, aside for some respect to the transit rules. Until those automobiles named “barbies” were substituted for the Yipeta’s power faunas, as a prominent “POWER”, one that destroys and has no respect for rules nor signals and is fearless of the bad shape roads, because, as the “Transformers”, are superpowerful and is a luxury to circulate shut up in acclimatized steel and plastic boxes armoured with deafening music and dyed glasses not to hear nor see. This is the stamp of the “Turpen” and formerly “Tutumpote” who squanders money and assembles made to order fiberglass sirens very quickly, to wear them out in wild nights that before the sunrises scape at down mixed with the mufflers black dust and with it the compromise to construct the present and design an even more powerful future./

Iván Miura

Cartographies of Power

The dominican Caribbean artist exposes his multimensional art works that compose a critical experimental dialectic system in which stand out three dimensional pieces, transformed objects, pictorical series made with colagge and drawing techniques and a rigurous conceptual aesthetic bases.

Limber Vilorio has taken his creative art works and his debates to the most varied urban context where he has either resided or exposed: among those are The Biennal of Havana, Museum of Modern Art in Santo Domingo, Museo Del Barrio in New York, Cultural Center of the Internation Development Bank in Washington, BMW Forum, internationl exhibition Kreyol Factory in Paris, Jerusalem Museum in Israel, Casa de Velazquez in Madrid, Noche en Blanco in Madrid, Sound Art Festival Ruidocracia in Madrid, LOOP Festival in Barcelona,etc.

These multimensional art works integrated to the hipertrophied web of the most varied metropolis, as an intersticial practice had and continue to have as his laboratory continum the Caribbean metropolis of Santo Domingo where he initiates and refine his contemporary essential sensitive perceptionof the relation between “urbs” and “civitas”.

The Limber urban universe has no space for the “non spaces” (from the concept of Mark Augé). The artist who besides being an architect is an urbanist doesn’t accept the simple impersonal relation of these fluid zones. His attitude toward those “non places” that continue to flow scarcely from a hiper consumist logicis to make an autopsy of the spoils and penetrate the many layers of the urban epidermis and endoderm making from the twisted scrab iron pieces, loose cement blocks, abandoned pneumatics, lost bullet cartridges and from the friction of the social classes a creative, tactful sensitive power and why not glamorous?

This glamour, paradoxical to the lacerated cosmetic order from which his work emerges is remarkably shown in his sculpture series of protection helmets in which he integrates Hard candy’s: he present a helmet covered with resin pieces that represent red caramels filled with empty cartridges of real bullets. He gives the same treatment to his piece Acorazado: the skeleton of an old car completely covered in the exterior with 210,000 bullet  shells and painted in the interior with a kind of blue marine color. In the addition to the sumptuoussity of having crossed the atlantic ocean by raft to reach the European continent, when the work is observed at a distance, it appears to have been nailed with glittering gold pieces but when it is observed more closely we find the empty bullet cartridges of fire arms. This is the effect that shows a clear evidence of the luxury and barbarity present in the contemporary relations between the vehicles and the human beings.

Limber Vilorio bases his research on the dinamics of power in the asphalt showing the relation that exist between man-pedestrian ans machine-automobile.

He starts by using the popular caribbean mythification of the Yipetas. These are sumptuous vehicles 4 x 4 that are a fetiche and have created a consumption fever as a social status and masculinity symbol in addition to multi colors family war tanks. Limber confronts the daily risks and scorns that the pedestrians suffer facing these motorized apocalypsis.

The artist makes evident this oppressing context with distincts works such as a violence simulator video game (which purpose is to collide the pedestrians as a punstuation objective) and the works of the graphic and installation series “The Pedestrian is not a Person” which points out the tragic comparisson (from the popular dominican imaginary) between the pedestrian and a dead dog.

To this urban drama where (in the words of the philosopher and urbanist Paul Virilio) “the accident is technology’s diagnostic” Limber proposes a few low-tech resistance instruments such as “The Suit to Walk in Santo Domingo” and “The Suit to Walk in Madrid”. These armours made with several kinds of surplus accesible to the pedestrians on the roads, codify a priviledged and historic role for the common man without a vehicle. The pedestrian is capable to scape the alienation as he is able to sketch the epidermic cartography of the metropolis so that its skin becomes the asphalt and the city contains the body.

Limber creates a particular semiotics around this theme which includes his serie “Power Structure”. This serie is made of pictoric works using different colagge techniques, illustration and polyester resin on plexiglass. It presents polysemic tales as conceptual maps with recurrent icons on the artist semiotic universe as the street dogs, Yipetas, wheels with legs on high heels shoes, fire arms and muffler men (popular sculptures made out of scrap iron from old vehicles and placed at the entrance of car mufflers repair shops as advertising signs in many latin american countries) are diluted in a translucent viscosity (a world that is neither liquid nor solid) and give the impression that they are ready to move generating other interactions different from those the artist himself has propose.

Thus surprising the effects caused by the drawings of mixed techniques that round about the subject “Who Threw the Yipeta into the Caribbean Sea?” This title was taken out from a Santo Domingo newspaper report that refers to a BMW Yipeta which was assumed to have mysteriously been thrown into the sea. These drawings with ludicrous subjects and contrastinf colors are found in a submarine life where the automobile’s industrial remains get rusty and are dissolved in an oniric universe that merges the presaged urban nightmare with the caribbean blue sea eternal dream.

Daniel Gonzalez Xavier

Director and founder of the Casa de Brasil Cultural Institute in Cordoba, ArgentinaIndependient Curator, Cultural manager and sound artist

"Yipetocracia" / díptico / técnica mixta sobre metecrilato / 2010

"Yopetocracia" (detalle)

ARTECH BMW

ARTECH Arte & Tecnología. Exposición individual de Limber Vilorio en Autogermánica, Santo Domingo, 2009

Sara Hermann y Vilorio en conversatorio "Arte y Tecnología", Autogermánica

Lucy García y Vilorio en el taller del artista durante el proceso de la exposición

Como fabricante de autos de calidad superior, BMW es reconocido por la excelencia de su ingeniería, sus productos de lujo refinado y sus destacadas innovaciones tecnológicas.

El compromiso con las artes es parte integral de la comunicación corporativa de BMW Group. Desde hace más de 30 años, BMW se ha relacionado con el arte y en 1975 dió inicio a su gran colección de “Art & Cars” que consta de autos pintados por grandes artistas contemporáneos de extraordinaria calidad como Andy Warhol, Frank Stella, Alexander Calder, Robert Rauschenberg, entre otros artistas.

En nuestro país, al igual que en el resto del mundo, BMW siente pasión y compromiso por las artes plásticas y parte de la iniciativa del denominado BMW Forum, incluye la presentación de exposiciones de artistas destacados. Continue reading ‘ARTECH BMW’

BACANO | Espacio de Creación

portada net

EXPOSICION LA FACTORIA  JUNIO 2009

sexymovil bac 09 net

Performance Sexymovil. Actores/ Isabel Spencer,Vicente Santos y Juan Rodriguez. Produccion/ Juan Rodriguez y Limber Vilorio.

casco bacano jun 09 net

Mami Fria, 2007. Casco Candy, 2009. De la serie Ahogados, 2007. Limber Vilorio.

casco candy 1 net

Casco Candy. Casco de motociclista, resina de poliester, casquillos de balas de bronce.

Hard Candy

En la serie Hard Candy utilizo la forma del típico caramelo redondo, de color rojo, relleno de dulce de coco, conocido como “Caco”, que se vende de manera informal en las calles de Santo Domingo, a manera de rescate de la cultura popular -algo habitual en mi obra-.

El material utilizado es la misma resina de poliéster pero, en este caso, de color rojo-sangre translucido. En el interior coloco un casquillo de bala de bronce representando el dulce de coco de los caramelos reales.

Los Cacos son dulces por fuera pero dentro son aun mas, aunque para llegar a este segundo estado de placer hay que atravesar esa cáscara dulce.  Se crea un proceso de dulce a más dulce, de placer a más placer.

Con esto pretendo crear un efecto de dulzura-deseo infinito sobre el poder, que es la vez la trampa que conduce a una auto-destrucción. El casquillo de bala, siendo el segundo estado, el mas dulce, es a la vez el mas destructivo -mientras mas dulce mas destructivo-.

Las piezas funcionan como unidades tridimensionales que se relacionan entre si en un plano para componer estructuras espaciales, describiendo lugares con el mismo efecto que los dibujos de la serie Poder.  También las agrupo para formar envolventes sobre formas definidas, como en el caso de los Cascos.

Limber at bacano 5 net

con Lucy at bacano 2 net

con Lucy at bacano 3 net

con Lucy at bacano 4 net

con Miura at bacano net

Limber at bacano 2 net


Zorro
Limber Vilorio, artista de Santo Domingo (República Dominicana), tem espírito criador irrequieto, perpassado por associações fulgurantes. Sua imaginação ultrapassa as intenções críticas que ele possui.
Vilorio veste carrinhos de brinquedo com uma pele de silicone, cheia de pontas, como as desses brinquedinhos para gatos e cachorros. Recobre uma carroceria de BMW com 210 mil cápsulas de balas. Faz isso também com capacetes e pneus.
Metamorfoseia bonecos de metal, que as oficinas mecânicas especializadas em escapamentos expõem como chamariz. Chama-os de “hombres-muffler”, homens-silenciosos (silencioso dos escapamentos, entende-se).
Veste-os, põe neles pinças de lagosta ou recobre-os de escamas; diverte-se com todas as variações possíveis.
É um fino desenhista. Ele traça sobre o papel astronautas com olhar ausente, sobre os quais dispõe uma placa de vidro. Com silicone, aqui e ali, cria aspectos de água ou fixa objetos diversos.
Pode também quebrar essas placas, criando ramificações como as provocadas pelo impacto de bala num para-brisa. Elas recobrem os rostos como uma teia de aranha ou como o esquema de um mapa urbano. Formam a série dos “Afogados”, tão melancólicos.


JORGE COLI
COLUNISTA DA FOLHA