'CAAM Territory' is inspired by the work of Jack Beng-Thi for its 20th anniversary - La Provincia


The Atlantic Center of Modern Art (CAAM) presents the twentieth edition of the exhibition CAAM Territory, composed of works by students of the Gran Canaria School of Art and Design, inspired by the creative universe of the French island artist of Reunion, Jack Beng-Thi, which is currently displayed in this art center. This new collective exhibition opens this Thursday, February 6, at 8:00 p.m., and can be visited in the rooms of Balconies 9 of the Cabildo de Gran Canaria art center until next March 29, with free admission.

CAAM Territory It was born in 2008 with the aim that young artists in training can participate in the process of production and assembly of an exhibition in the museum. The project begins with the visit of students of the School to the exhibitions of the CAAM. It continues with the meetings they have with artists and curators, and culminates in the creation and subsequent exhibition of the works they perform, by way of reinterpreting the exhibitions. In this twentieth edition, the exhibition is articulated with three artistic proposals in which they participated about 40 students who study three higher degree training cycles: Photography, Artistic Ceramics and Printed Graphics. His works reinterpret the retrospective of Beng-Thi, who, together with the director of the CAAM, gave a talk at the School last October.

Jack Beng-Thi (Reunion, 1951) has an extensive work of wide historical, social, political and ecological significance. Sculptor, photographer, video artist and performer, is an artist committed to art, nature and its cultural roots. Much of his work focuses on the history of his Reunion ancestors, subjected to slavery in the colonial era, whom he honors in many of his works trying to rescue men and women whose stories were forgotten in those archives of the colonial administration, to rehabilitate them as bodies and incorporate them into collective memory.

Thus, under the inspiration of Beng-Thi's artistic work and social commitment, the Photography student group presents the work Oppressor circle. These are ten photographic proposals that aim to "move from the concepts of oppression, slavery, exploitation and plunder, and inspire and dignify through the concepts of freedom, identity and cooperation." The images seek to "value the integration and cultural immersion reflected in photographs with inspiring colors, materials and rites of different cultures that have a past in common and, in some cases, a present of alienation." Photography student work proposes "a critical and contemporary vision of the social systems that reproduce, directly and indirectly, the submission of peoples. " It aims to generate a reflection from what they consider "the three main 'actors' involved in the social development of the 21st century: oppressor, victim and activist".

On the other hand, the students of Artistic Ceramics present From the skin inside, a projection on ceramic bowling pieces printed in 3D, in different sizes. The work is an installation that "represents the human being in the territory where borders cease to exist to denounce the intolerable situation of global politics and tries to connect the public with initiatives and people trying to transform this reality." "Nothing more human than putting ourselves in the shoes of another person and experiencing feelings such as suffering or joy", although "for this we have to 'know-us' and 'know-them'; we have to feel reflected and reflected in the game of life, in adaptation strategies, "they reflect.

The group of students of Gráfica Impresa, on the other hand, presents the play The symbol, a large print image that can be seen in the outdoor patio of the art center and that it can have multiple interpretations depending on who contemplates it. From the design perspective, the student explains, "the possible revolution that is hidden behind the phenomenon of capitalism that we address contains a symbolic dimension. And it is through symbolism that the public is guided to interpret a continuous, infinite canvas" .

An image, although essentially simple, "is loaded with feelings and sensations that become a criticism of the decline of a sector such as the tomato that conditioned the geography, demography and society of the archipelago, in a context of oppression, precariousness. extreme and scarcity, caused in large part by overproduction and consumerism. " The work speaks of "oppressive capitalism that finds its abyss in the exodus to cities and geographic competition, leaving behind a bleak footprint in our nature," highlights the group that signs the work.

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