Anna Fishzon navigates one of the most recent groups of work by Patrick Webb: Intimacies. Placing us in the hands of Punchinello — the main character in Webb’s scenes — Fishzon guides the conversation through the communion of two souls: the artist’s and his alter ego’s.
Punchinello cautiously becomes the thread linking the evolution of two worlds, neither absolute nor separate, between the realities of the artist and his character.
From time immemorial, there have been crimes committed by women who were driven to pursue their own power. These transgressive crimes center on the tearing down of established systems. They make it possible for us to reflect upon the meaning of the offenders, sacrifice in Euripides’s Bacchae: offenders who, beyond their frantic alienation, rise, as Medea did, through a reflective process that leads to a destruction that does not horrify them and that few of them repent.
City of Women is an encounter with the confusion about what happens to a woman’s body over her lifetime. We become divided subjects from the beginning — separated from the womb and ourselves in birth. Then the divided mind, now we become both subject and object, observer and the observed.
José Vívenes is a Venezuela-based painter. His work reconsiders the gaze given to collective references. Vívenes assumes painting as a means of communication to reflect on the complex circumstances that his country, Venezuela, is going through.
