{"id":3635,"date":"2019-07-03T15:46:00","date_gmt":"2019-07-03T15:46:00","guid":{"rendered":"https:\/\/ellapizcolorao.com\/?p=3635"},"modified":"2019-10-19T19:17:42","modified_gmt":"2019-10-19T19:17:42","slug":"richard-channin-foundation","status":"publish","type":"post","link":"https:\/\/ellapizcolorao.com\/?p=3635","title":{"rendered":"The Richard Channin Foundation, la exposici\u00f3n que no va de la exposici\u00f3n"},"content":{"rendered":"

La mayor parte de las veces que nos enfrentamos a una exposici\u00f3n ignoramos el desarrollo que supone para la historia del arte<\/strong>. El proceso de investigaci\u00f3n, oposici\u00f3n y yuxtaposici\u00f3n de conocimiento, nuevas miradas sobre la relaci\u00f3n entre obras o entre el artista y diferentes contextos… incluso restauraciones o recuperaci\u00f3n de piezas que han quedado olvidadas en almacenes. Sema D’Acosta, comisario de la exposici\u00f3n ‘The Richard Channin Foundation’, se ha empe\u00f1ado en que no pasemos por alto este proceso, y sit\u00faa en el mismo nivel la propia producci\u00f3n art\u00edstica de la RCHF y el fen\u00f3meno que supuso en el arte del cambio de siglo en Sevilla<\/strong>, un elemento adicional que multiplica el inter\u00e9s.<\/p>\n\n\n

\"Placa<\/figure><\/div>\n\n\n\n

La RCHF fue un colectivo art\u00edstico integrado por Miki Leal (Sevilla, 1974), Juan del Junco (Jerez, 1972) y Fernando Clemente (Jerez, 1975), y que surge por la confluencia de dos vertientes de objetivos comunes.<\/p>\n\n\n\n

\"Serie<\/figure><\/div>\n\n\n\n

Por un lado, hay una respuesta a la precariedad de medios y a la falta de visibilidad de la producci\u00f3n de unos j\u00f3venes que salen de la Facultad de Bellas Artes -contra la que manifiestan por sus m\u00e9todos adacemicistas- y necesitan encontrar un espacio que les permita ser reconocidos<\/strong> como parte del endog\u00e1mico circuito del arte. <\/p>\n\n\n\n

De otro, encontramos una actitud desenfadada, un inter\u00e9s por la diversi\u00f3n y la trasgresi\u00f3n<\/strong> que ser\u00e1n se\u00f1a identificativa de la Channin. Porque este colectivo y su influencia no se entienden sin una dosis (aglutinadora) de poca verg\u00fcenza. <\/p>\n\n\n\n

\"\u00bfQui\u00e9n<\/figure><\/div>\n\n\n\n
\"Un<\/figure><\/div>\n\n\n\n
\"La<\/figure><\/div>\n\n\n\n

Dif\u00edcil amalgama, s\u00ed. Pero Juan, Fernando y Miki cuentan con un elemento que no les falla: la autenticidad<\/strong>. Puede parecer que sus propuestas iniciales adolecen de profundidad, pero el tono caricaturesco, donde destacan lo cutre y lo chano, no viene sino a reforzar ese caracter sat\u00edrico de su denuncia.<\/p>\n\n\n\n

\"Directo<\/figure><\/div>\n\n\n\n

Esa autenticidad les convierte en una suerte de v\u00f3rtice, atraen a otros j\u00f3venes creadores<\/strong> en parte por sus propuestas art\u00edsticas y, fundamentalmente, por la frescura que aportan. En la lista de nombres aparecen gran parte de los artistas que ahora reconocemos y que forman parte de esta generaci\u00f3n de los setenta y ochenta: Jos\u00e9 Miguel Pere\u00f1\u00edguez, Rub\u00e9n Guerrero, Mariajos\u00e9 Gallardo, Norberto Gil, Crist\u00f3bal Quintero, Ram\u00f3n David Morales… e incluso los MP&MP Rosado.<\/p>\n\n\n\n

\"Me<\/figure><\/div>\n\n\n\n
\"Fotograf\u00edas<\/figure><\/div>\n\n\n\n
\"Documentaci\u00f3n<\/figure><\/div>\n\n\n\n

No son la primera experiencia -basta recordar la Agust\u00edn Parejo School o Equipo M\u00faltiple-, pero s\u00ed han marcado una forma de hacer comunidad art\u00edstica en Sevilla<\/strong>. Espacios como Sala de eStar o Plan Renove son dif\u00edcilmente explicables sin la Channin<\/strong>, incluso en la cohesi\u00f3n a trav\u00e9s de la comida popular.<\/p>\n\n\n\n

La evoluci\u00f3n individual de la creaci\u00f3n de Fernando Clemente, Miki Leal y Juan del Junco fue consumiendo la capacidad de producci\u00f3n del colectivo. Destaca Sema que el gran valor de la Channin fue la autenticidad, \u00abconvertir la experiencia vital en experiencia art\u00edstica<\/strong>\u00ab. Ese modo de hacer y su estela mantienen su vigencia.<\/p>\n\n\n\n

\"Patrulla<\/figure><\/div>\n\n\n\n
\"Comandantes<\/figure><\/div>\n\n\n\n
\"ST\"<\/figure><\/div>\n\n\n\n

La exposici\u00f3n puede visitarse en el Centro Andaluz de Arte Contempor\u00e1neo hasta el 20 de octubre.<\/p>\n\n\n\n

NIEVES G. GROSSO | SEVILLA<\/pre>\n\n
Twittear<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"
La mayor parte de las veces que nos enfrentamos a una exposici\u00f3n ignoramos el desarrollo que supone para la historia del arte. 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