Codified Reality Exhibition. Espacio 5. Valencia
The elaboration of objects in each culture is accompanied by an informative burden of each society, giving it characteristics that in turn characterize it.
These features are evidenced by means of codes that contain a discursive and expressive background in which aesthetic, mythical, magical and symbolic components are crossed, in which the modes of existence of each culture can be seen. Operating in each object and in each manifestation a process of meaning, communication and creation of meaning, in which identity traits are expressed.
A coding system is evident in the synthesis present in the specific objects of each culture but also in the view of each individual since this is given by a social programming in which certain paradigms are already established.
"Any look comes encoded. It is worth saying that it is produced in a socially agreed manner as if it had been previously programmed, in the case of the indigenous people through the background of the foundational myths, from which the unifying principles derive meaning, which gives meaning to the life of the community and of the ethnic group on the basis of an immemorial story, relative to the origin of the world and its culture. "2
María Esther Barbieri, takes the Venezuelan indigenous culture as a reference for her plastic proposal. It goes hand-in-hand with craftsmanship, basketry, weaving, and utensils belonging to ethnic groups not only for its aesthetic appreciation, but also for studying these cultures Panare, Warao, Ye'kuana and Yanomami to understand the value symbolic present in each element, which allows you to read the real codes and from there to offer a different aesthetic code under formal reinterpretation, achieving a substitution of the own codes of time and space; similarly, it approaches the objects of the Venezuelan popular heritage.
Evoking an ancestral tradition but under new meanings and forms, thus revises the tradition, rescues it and protects it from oblivion and opens it to the possibility of change, giving continuity to the renewal of forms under new codes of the real that change the experience visual of the spectator.
In Barbieri's works, a visual empathy can arise through a purely aesthetic approach, but if each look that observes them is accompanied by a deeper knowledge, then a plus is generated that is characteristic of the process itself that the practical artist in her work, in which I gathered materials such as ceramics, stoneware, porcelain and prints on acrylic to offer us a coded reality. "Any work of art is really a part of a detained event or an emanation of past time" 1
1 Kubler, George. The time configuration. Editorail Nerea, Madrid, 1988, p. 77
2 Erminy, Perán. The specifically artistic. Exxon Mobil de Venezuela, 2005, p. 23