Karina El Azem

Maybe because it is one of the most recent: "Evita with the color time" The painting is the same as that used in various objects of Santeria and gift shops, it makes objects change color according to weather conditions. In the absence of moisture, the color is blue and turns to pink, through purple shades. Here relays the belief that these images are predicting rain.

I can only tell which have been my interests since I started working as an artist, but I love what happens when the viewer is not led to any particular interpretation. The richness and interaction that it generates are ontologically linked to my inquiries. Some ideas: The influence of the decorative arts in the development of abstract art of the twentieth century. The decorative art was born many centuries before the art of representation and through the rhythm, symmetry and pattern moral, social and religious looks were communicated. The biological urge to order an item in any particular provision, stones, colored beads or crumbs of bread, satisfies a certain "sense of order" inherent in our human condition. There are formal grounds which are discovered as suitable to fit into certain psychological dispositions that had not been found before, they are creators of habits. Jug animal shaped, leaf-shaped column: motifs that come from the ancient Greeks, Romans or Egyptians on which we return again and again. They are understood and assimilated. The functionalist aesthetic drilled a long debate on the ornament and artifice and reached one of its most extreme expressions with Adolf Loos's claims that were distilled in the slogan "ornament is crime". In 1927, Siegfried Kracauer coined the term "mass ornament" to reflect on the then emerging entertainment industry and the choreography in which the dancers were not recognized as individuals but as being one figure, he questioned whether human life itself was not taking the features of ornamentation and thus established analogies in the capitalist production system. In many works I use as construction materials objects used to kill: ammunition, bullets, caps, most of which were used in the market and reintegrated. The ammunition used as material for embroidery, craft work traditionally ascribed to women, establishes a parallel with the mass production being this, the job of the industry that pays off more money in the world. My works are based on "patterns", a kind of embroidery work in photography and computer repeating these matrices and establishing different relation ships of possible meanings. In nearly all my work the craftsmanship and mass production is represented by digital printing in order to accentuate the tension between the false and the real. I onboard various forms of violence and authoritarianism so characteristic of our idiosyncrasy, using at the same time an archetypal language form: the pictograms.

In the tradition of post conceptual minimalist costumbrismo. Cárcova, Palliere, Candido Lopez, Molina Campos, Cúnsolo, Diomede, Berni, Peralta Ramos, Greco, Lozza, Kosice, Benedit, Suarez, Kuitca, Ferrari, Jacoby, Grippo, Carpani, Porter, Prior, Polesello, Kacero, Fuertes , Giron, Gordín, Siquier, Hasper, Laguna, Duville, Siegrist, Bonzo, Iturralde ... and Shirin Neshat, Donald Judd, Mona Hatoum, Julian Opie, Kara Walker, Christopher Wool ...

Experiences 68, the Tao of art, Crime and Ornament, Cromofagia, Collections of artists, Stella at Malba, and so many retrospectives!

The proliferation of projects generated by artists that foster ex-changes, cooperations and disseminations. Such Basilisk,Trama, Belleza y Felicidad, ramona, Pink Pig and many more.