Nobody can escape the external influence as known and no one creates the unknown. The work of Madureira, classic icons of the painting brings together with icons now classics of postmodernism, creating new meanings and challenging us to find new meanings.
The artist Alexandre Madureira (Porto, 1976), with their imaginary Museum performed a tribute to the homonymous work of Malraux, which deeply prepared during three years of work. The works by the Portuguese artist capture the classic icons of our collective imagination, either of the great masters of painting as symbols that marked our childhood, generating new meanings and giving a twist to the original essence of the works. With an aesthetic reminiscent of pop art and collage, the magic of his work causes us and takes us to carefully observe every detail and try to decipher the associations created by the artist and understand the sense generated from the amalgam of symbols of our collective imagination, United without temporal or chronological axis.
Madureira moved to the muses of Picasso in the young ladies of Avignon both a surreal, seeing transfiguradas in Botticelli's Venus, a voluptuous redhead Klimt or Stormtroopers of Star Wars. Easily recognizable, but completely outside the original context symbols.
All these icons, passed through the filter of post-modernity, seem to come a new comic and tragic sense in equal parts, where the high and low culture come together and it ends to eliminate the differentiation between the two.
Similarly, characters drawn from Picasso's Guernica fit into the surroundings of David Lynch's Twin Peaks as if we saw the scene through the silent television screen or Venus and Mars in Botticelli are presented as if it were a battle of the Street Fighter, where Venus just won the game.
In its latest exhibition, LOST IN TRANSLATION, through five works Madureira presents a reflection on the most controversial issues of globalization, such as the freedom of the individual and the questioning of everything we are and feel, in the midst of a world that unifies and distorts to the very essence of the human being.
His work dissecting the irrepressible desire to unfounded by the media and consumer society, the handling and the false sense of freedom generated through stimulation of the necesitarcosas more and more impossible, and the role of man in the midst of an increasingly globalized world.
Referring to Lost in translation by Sofía Coppola, Madureira questioned us translations we make of our lives, of our desires and interests and reflects on the difficulty of feeling free in the midst of a society manipulated and deeply influenced by media and consumption and to the death of the soul, which in many cases leads.
Never satisfied desires that translates into the most absurd human acts, as it reflects a carpet that is part of the exhibition and where it is written "I'd rather cry in a BMW to laugh on a bicycle".
A vision of the world through art that invites us to question the course of our lives and what remains of authentic from us and from our own emotions.
by Estefanía Sánchez
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