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Angelika Markul ANGELIKA MARKUL GALERIE LAURENCE BERNARD 37 rue des Bains I 1205 Genève I +41 76 329 60 28 [email protected] I www.galerielaurencebernard.ch Cultura Tres muestras sobre la naturaleza hecha arte, en el ex Zoo porteño La exposición de Muntref-Centro de Arte y Naturaleza reúne la obra de la polaca Angelika Markul, el colombiano Larry Muñoz y el argentino Sebastián Díaz Morales. Propuestas sobre cómo la vida avanza aún después del abandono y las tragedias humanas Por Marina Oybin / 24 de abril de 2018 Las muestras ponen en el centro al avance de la naturaleza, aùn después de abondonos y tragedias Una ironía macabra. Eso es lo primero que uno piensa al ver una antigua rueda de la for- tuna en un parque de diversiones en Prípiat, ciudad devastada tras la explosión del reac- tor número 4 de la central nuclear de Chernobyl. El accidente nuclear más grave de la his- toria generó una radiación 200 veces superior al de las bombas de Hiroshima y Nagasaki combinadas. La radioactividad emitida se extendió por más de una decena de países de Euro- pa central y oriental; provocó muertes, trastornos genéticos, malformaciones y enfermedades. En ese sitio que hoy es una ciudad fantasma, la artista polaca Angelika Markul filmó a ritmo ver- tiginoso durante cuatro días una de sus videoinstalaciones inmersivas. En ellas, imagen, silencio y sonidos (compuestos especialmente para sus trabajos) se articulan con precisión potenciando el efecto dramático. Junto con un video realizado en Naica (un pueblo del estado mexicano de Chihuahua) y otro, en las ruinas de un castillo construido hace unos 10 mil años, que hoy está sumergido en el mar en Yonaguni (Japón), integran Naturaleza reimaginada, con curaduría de Diana Wechsler. Muntref Centro de Arte y Naturaleza (Nicolas Villalobos) "En sus obras, Markul alude a la tensión entre vida y muerte: en el caso de Chernobyl, registra cómo esa ruina contemporánea es avasallada por la sobrevivencia de la naturaleza", señala Wechsler. Estamos en Muntref-Centro de Arte y Naturaleza, futuro Ecoparque (en el ex zoológico porteño), que abrió sus puertas a finales del 2017 durante BIENALSUR y que suma artistas nacionales e internacionales para abordar temáticas vinculadas con la naturaleza desde la mirada del arte. Desde hace una década Markul elige para sus filmaciones sitios peligrosos, misterio- sos, alejados y de muy difícil acceso para el hombre. "Con mis trabajos busco respues- tas a las preguntas que me hago a mí misma sobre la vida, la muerte y el nacimien- to: ¿por qué estamos aquí en la tierra?, ¿estamos solos en el universo?", dice la artista. Markul, que vive y trabaja entre Polonia y Francia, se nutre de investigaciones científicas y tra- diciones del lugar para crear una cosmogonía propia, lindante con la ciencia ficción. Recorre y analiza el lugar, documenta, toma registros fotográficos, dibuja, conversa y hace contactos con la gente del lugar. Decide cuál es la zona que le interesa iluminar y de qué modo. No hay en sus filmaciones un interés documental o naturalista: Markul desata mitos, crea nuevos universos. Filmar en Chernobyl significó uno de sus mayores desafíos "físicos y espirituales". Con un aparato que mide la radiación, recorrió con su equipo de trabajo distintos sitios hasta la zona denominada I, la más contaminada y donde filmó. Durmieron en Prípiat, en un edificio con un grupo de soldados, el único lu- gar disponible cerca de la zona 1: "La radiación –cuenta la artista– era muy alta en ese lugar que funciona como base de las milicias: tuve dolores de cabeza agudos, vómitos y nauseas, pasé cuatro días sin comer" Antigua rueda de la fortuna en un parque de diversiones en Prípiat, Chernobyl El rodaje tuvo que hacer frente a las tormentas de nieve. "Si bien el gobierno nos autorizó a entrar, tuvimos que pagar muy caro: Ucrania es un país muy corrupto, se manejan de ese modo. Pagar es una práctica generalizada", dice la artista, quien pasó todo el tiempo controlada por las milicias: "Fuimos tratados como periodistas: ellos querían saber exactamente qué íbamos a decir y qué filmábamos". Markul revela un hecho estremecedor: "Muchos periodistas van en verano. Cuando llegamos nos ex- plicaron que nunca hay que ir en esa temporada porque es extremadamente peligroso: el átomo que está sobre la tierra se activa. Las partículas que se desprenden pueden entrar por las orejas, la boca, la nariz y los ojos y provocar la muerte. En cambio, durante el invierno, la nieve provee una capa de protección. Muchos periodistas van en verano porque desconocen esta situación; yo tampoco lo sabía hasta que cuando llegué los militares ucranianos me contaron esto. Para entrar en la zona, es obli- gatorio firmar un documento en el que uno se hace absolutamente responsable de lo que te ocurra". Yonaguchi, la misteriosa ciudad subacuática de Japón También en Fukushima, donde filmó dos meses después del accidente nuclear, Markul ar- riesgó su vida. "Allí la intensidad de la radiación era mucho mayor que en Prípiat", afirma la artista. Llevó agua, no probó bocado, sólo se quedó un día para el rodaje y se fue a paso fugaz. "Sentí olor a muerte: aún había cuerpos bajo los edificios y la tierra", recuerda. Hay alquimia en su obra: Markul convierte tragedia agónica, destrucción y fragilidad en un universo misterioso, hipnótico. Cueva de Naica Chihuahua, México También requirió coraje su trabajo en la cueva de Naica Chihuahua, México), conectada a la mina de Naica, a 300 metros de profundidad, donde se encuentran los cristales más grandes del mun- do. El resultado del trabajo es como un filme de ciencia ficción de otros tiempos, con sello vintage. Para soportar los casi sesenta grados de temperatura que hay en la cueva, usaron trajes espe- ciales refrigerados. Además, la artista y su equipo se hicieron chequeos médicos y realiza- ron un entrenamiento físico previo. En la cueva, cuenta Markul, hay cabinas acondiciona- das por científicos donde es posible usar máscaras de oxígeno para aliviar las altas temperaturas. Para soportar los casi sesenta grados de temperatura que hay en la cueva, usaron trajes especiales refrigerados Con acciones breves y absurdas, En un futuro no muy lejano, de Sebastián Díaz Morales, pone el eje con una serie de videos en una pareja que hace frente a un viento huracanado en la Patagonia. Con curaduría de Benedetta Casini, en La eterna novedad del mundo, con ramas secas, esqueletos de animales, piedras, plumas, semillas de cardo e insectos encontrados en el zoo, el artista colom- biano Larry Muñoz presenta obras leves y efímeras. Son tan frágiles que da la impresión de que un suspiro puede dañarlas. La eterna novedad del mundo (Larry Muñoz) Un fabuloso video pone el foco en la tenue respiración de un rinoceronte que aún está en el zoo junto con otros animales que no pudieron reubicarse y que, tras varias generaciones en cautiverio, no podrían sobrevivir en su hábitat natural. Resulta difícil despegarse de esa imagen monumental. Sólo se percibe el movimiento suave del lomo; la piel gruesa, agrietada, gris. Triste y solitario final: permanecerá en el zoo hasta su muerte. *Naturaleza reimaginada, de Angelika Markul; En un futuro no muy lejano, de Sebastián Díaz Morales, y La eterna novedad del mundo, de Larry Muñoz, Muntref-Centro de Arte y Naturaleza (Ecoparque, Avenida Sarmiento 2725). Hasta el 5 de agosto. Entrada gratis http://www.telam.com.ar/notas/201804/270588-tres-muestras-reflexionan- sobre-el-medio-ambiente-en-el-ecoparque-porteno.html A passion for what is hidden from human sight by Virginia Greco. Published: 12 March 2018 http://alicematters.web.cern.ch/?q=content/node/1085 Last January, visual artist Angelika Markul visited the ALICE experiment to get inspiration for a project about the Universe and its origin. We talked with her about her work. ALICE’s study of the infancy of the Universe attracted the attention and the interest of visual artist Angelika Markul, who came to CERN last January to visit the experimental site and see our detector. Of Polish origins, Markul has lived and worked in Paris since 1997, where she studied arts. Her artistic production counts many multimedia installations including video projections, which are inspired by nature and her investigation of what is mysterious and hidden from human sight. Lately she became interested in big machines built by physicists and engineers to study the Universe under different points of view. One of these is the ALICE detector, which she wanted to see with her eyes to get more inspiration for a piece of art she is working on in this period. We interviewed her to learn more about this experience and her projects. Ms Markul, how did you become interested in particle physics in general and, in particular, in the ALICE experiment? In the framework of my current research and my work, I oriented my attention towards three scientific machines – the largest and the most complex ones – which allow us to learn more about our origin and where we come from. The first machine I got interested in is the ALMA telescope in Chile, which looks towards the sky. Then, I became interested in the ALICE experiment and the research concerning our creation, as well as in how particles are used to recreate the conditions after the Big Bang to shed light on the functioning and the origin of our universe. Finally, the third machine is the FAST radio telescope in China, which aims at detecting potential forms of life in other galaxies. You visited CERN and went underground in the ALICE cavern to see our detector. What are your impressions? What did you get from that experience? It was a unique experience.
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