More contemporary art at the Bienal de Cuenca ( click on image to enlarge ) .
Via: Scrambled River
(blog on Articles and Essays on the Contemporary Art in Ecuador, with special emphasis on what happens in Guayaquil)
dialogues between works are collected in Playlist without doubt much more intertwined than suggested and activated in this catalog, beginning with some parallels in the formal devices and the use of certain means, such as we see the handwriting becomes overflowing Drawing of subjectivity in Manuela Ribadeneira, Karina and Stephanie Skvirsky Peñafiel, or how the work of the latter shared conceptual strategies with Oscar Santillan.Some images of the works involved:
establish further links in the tunes that exist in their content: works that explore similar contrast horizons in different ways, one of them the substrate ideology is presented as one of the central issues of this historical period, works such as Juan Carlos Leon, Graciela Guerrero, Saidel Brito and X. Andrade are crossed by this issue. It is interesting to note that there is also a need to work from prying eyes and perspectives anchored in the past far, as have Leon and Peñafiel, or, on the other end, the memory of the childhood as we see in Pamela Hurtado, Fernando Falconi and Skvirsky. In another vein striking how Ilich Castillo Pablo Cardoso and have explored ideas about the pitfalls of representation and the weight of technological mediation on individual experience as different ways but basically related.
The show also sees a boost to delineate our marginal features a unique personality, often from sources whose aesthetic is linked to popular culture, locking messages with local relevance, and despite being able to communicate with eloquence in other contexts speak clearly from Ecuador, becoming the place where creative these deviations arise at a periphery without complex itself, as is clear from the work of Wilson Paccha, Stefano Rubira, Gabriela Chérrez, X. Andrade, Graciela Guerrero and Miguel Alvear.
Such observations can be multiplied in the course and therefore the sample postulates a receiver inquiring and critical exercise, hoping that every visitor can spin their own relationships, interpretations and stories: emancipated way open to the viewer, using the term Rancière .
In the days that ended this text fell into my hands by chance a copy of the popular guide Lonely Planet travelers, which aptly summarized the "national psyche": "The majority of Ecuadorians have three things in common: pride in his country's natural wealth (both for its beauty and its resources); disdain for corrupt politicians who promise to redistribute the wealth but continue pocketing, and the presence of a relative in another country [...] From this, the psyche is blurred, and the individual's attitude becomes a matter of altitude [4]. I immediately thought this exposure and how this comment could be seen symbolically reflected and radically more complex in its interior.
is clear from this selecting the visual arts scene in the country is extremely broad. That reaffirmed my intention to stay away from affectation thematic and often restrictive intellectual firulete some curatorial agendas or biennial format. I wonder if as stewards at these events we try to account for the universe of what is really happening in the art, or prefer to place work to illustrate and verify a default statement. I prefer, as I said, leave field open to a script open to different possibilities and the sample-sucking leech some attention as in the context of the Biennial of Cuenca, be interpreted as a failed attempt, perhaps, but honest-to flesh out a scene alive. Press PLAY to start listening. Rodolfo
Kronfle Chambers
Guayaquil, July-August 2009
(create, think, think.) 
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