Opening: Saturday August 19th
Museums collect objects, as do people. These objects can be personal or belonging to others, coexisting with them and creating various narratives through acknowledged or undisclosed stories. Sometimes, this results in mere accumulation, and over time, these objects end up as remnants of their own stories or those of others. But what happens when objects cross paths? In this particular case, involving both museum items and those of an artist, Carlos Herrera was commissioned to undertake such an action. It involved blending and revealing fragments from different origins, generating an uncertain relationship between the materials and a museological context.
In the exhibition entitled Fertilizing Absence, which the artist showcases at the Museo Arqueológico "Dr. Eduardo Casanova," the artworks enter into a conversation with the site's architecture and a section of the collection. A series of large-format sculptures, crafted from metal carts commonly employed for object transportation, along with animal skins, blankets, bones, hay, bread, nylon bags, and indigenous flowers gathered from the region, establish a connection with the architecture of the museum's courtyards. Furthermore, the artist plans to curate a collection of masks in one of the rooms, consisting of a hundred pieces that have never been displayed before. Accompanying this set is one of his own imposing sculptures, sharing similarities with those found in the courtyards. This assemblage of pieces resembling carriages appears almost abandoned by an unknown traveler, an entity, or a living being. It beckons us to contemplate the intersection of the earthly and the spiritual, prompting inquiries about the human condition, its capacity for enrichment, and its connection to absence.
