Caracas Emmental

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Curatorial Statement: The concept behind this exhibition seeks to explore the antinomic quality of a hole as both an obstacle and an opening. This emptiness implies a fulfilling that this exhibit seeks to accomplish by allowing the viewer to appreciate the photographs through sight holes. In this way, there is a dialogue that is created between the artist filling in the emptiness with fantasy and the viewer filling in the space with their sight. The cul-de-sac setup of the show refers back to the urban problems facing Caracas such as traffic and overcrowdedness. It aims at causing a circulation problem in the exhibition space, thus transforming the viewer into their own obstacle that they need to navigate through.

Artist/ Work: Caracas Emmental showcases seven works by Venezuelan photographer Violette Bule (b. 1980), a graduate of the Active School of Photography in Mexico (2002). Violette Bule engages with direct photography - everything is staged, nothing is photoshopped, which allows for the irony and satire present in Venezuelan politics to peer through.


"Caracas Wonderland" (2010)


"Pelea de Barro" (2010)


"Playa Huequito" (2010)


"La Atrincherada" (2010)


"Caricuao Wars" (2010)


"Las 3 Gracias" (2010)


"Manicurista Manoz" (2010)

Installation: The cul-de-sac structure was built using deconstructed cardboard boxes. Pieces were measured to the dimensions outlined below, and four pieces compose the final structure. Sides were attached using black duct tape. Once custom boxes were built, they were each painted with a layer of water based black paint and then sprayed with a gray textured spray paint (to resemble pavement). Pieces were installed in the living room space (with tops of boxes not adhered), and photos (printed 16.5x11 in) were adhered to the bottom of the boxes. Holes were then cut in the box tops to match the location of the photographs. Tops were then taped to the rest of the structure and small tap lights were installed next to the view hole on the top/ inside of the box. We ran into some logistical issues throughout the process of building the structure and installing it. The cardboard did not look as polished as we would have hoped, and it tends to warp in the heat of the Granoff and due to the paint. Also, the tape wasn't as strong as expected, so the structures are not entirely reliable. A few tap lights fell into the box while we were gone from the sight, which caused some panic about the safety of the artwork, however we tried to hammer out the kinks to the best of our ability and hopefully the audience appreciates the art and their experience interacting with the installation!

Installation: In an attempt to still convey the urban quality of the streets of Caracas, as depicted in the images, we decided to recreate the setting. Using caution/ cuidado tape, we constructed a geometric design that would lead the viewer toward the projection. Images were mounted on the living room walls, forcing the viewer to lean down to get close and examine the details. The caution tape gradually narrowed the walking space in the exhibition, creating a sort of circulation problem that was comparable to the cul-de-sac previously formed. To enhance the feeling of a street, we laid down yellow lines and a cross walk. 

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