The Show, which is currently on display in the Hanover Republican kestnergesellschaft, looks like you would be dedicated to two people. On one side, colorful characters, especially the women at the Bar, workers, and markets, in bright colors, almost expressionistic, on the other hand, lines, graphics, and lists on grid paper, and interspersed with a few black-and-white photographs. Yet everything originates from the Peruvian artist Teresa Burga, whose work in Germany is for the first time to see such a great, retrospective.
At first glance, the change of representation is a biographical fact owed. Was formed Burga at the Universidad Católica in Lima, an Academy, a spiritual expressionism with the Bauhaus Ideal mixed, which were adapted to Peruvian conditions. In 1966, Burga was the co-founder of the Arte-Nueva group, which dealt with international artistic styles such as Pop Art, minimalism and Happenings. During her artist colleague, Gloria Gómez-Sánchez focused on craftsmanship, the “Peruvian” was, and thus in the twenties, developed the “Indigenismo” in new forms goss, decided Teresa Burga, on the contrary, to refrain from self-handedness. You are instructed other participants in the group with the execution of their designs, as in the case of “prism” geometric wooden objects, which were brightly painted.
1969 forms went Burga with a Fulbright scholarship at the renowned Art Institute of Chicago, and deepened their knowledge of conceptual art. In their own work, Burga of the figurative and colorful representation of an often tough everyday life changed reduced to mostly white-on-black, with type and number of operating plants, the people and the world measured on the wayward way.
Back in Lima Burga worked with a wide range of methods and mixed elements of Pop art, conceptual art, documentary, and take possession of the forms. “Autorretrato”, an installation-like self-portrait of 1972, gathered documents of a cardiological investigation, Burgas, recipes, and Transfers a recording of the heart sounds up to vile invoices – documents that refer to the physical existence and the symbolic centre of an individual, the heart, but, nevertheless, the Person does not reveal. Other, younger pictures children painted pictures, the call of the glowing figures of the early Work in Burgas, but in the acquired Form. The original, alone, with family, or anthropological, of the human Imagination zeugendem value equipped, now hang next to your copies, declared as an art, a high cultural value.
The question as to the value of art
as different As these works are, too, share a concern, to entsubjektivieren namely artistic work. The artist does not appear as an exception person who brings in the self-portrait, concise, and original expression, but as a systematically recorded, calculated, and managed nature. Handwriting, if it occurs, is a borrowed, appropriated. Although you transmitted to Einbildungs and creative power, but not that of the artist. So, it’s not awesome skills creativity, but the question of how images will appear in which Medium. And what makes the Medium, the environment with their significance and their value?
The question as to the value of art and work can make Teresa Burga is all the more serious because it is self-fallen from the focus of the art world. Although she returned to Lima, because, to her, was promised in the United States, a Position in the art world their home. But in Lima, the promise was nothing more. So Burga gave up the ambition to work professionally as an artist, not least because of the lack of interest in their work, which forced them to work in the national customs administration.
