Maria Veronica Leon V artist from Ecuador in Paris

THE ARTIST

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MARIA VERONICA SOLO EXHIBITION AT MACRO ROME/MUSEUM OF CONTEMPORARY ART IN ROME
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Click MARIA VERONICA - MACRO Exhibition Catalogue

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Art, Science and Technology in
 Gold Water: " Apocalyptic Black Mirrors II"
by Maria Veronica Leon

 

Exhibition curated by David Rosenberg and the first of the project "From La Biennale di Venezia to MACRO. International Perspectives", curated by Paolo De Grandis andClaudio Crescentini-,attracted many visitors in April 2016. Thanks to this thrilling exhibition and interactive workshops, Maria Veronica Leon, -through art, science and technology-,with "Apocalyptic Black Mirrors II" brought strong reflexions to the public about the urgent care that humankind needs to provide to water and Earth'sresources, in order topreserve life in the World. Spaces full of visitors, great press articles and extensive comments talk about the success of this exhibition at MACRO, Museum of Contemporary Artin Rome (see images bellow).
"We are grateful to the thousands of people and journalists who gave great attention to my work and the exhibition, helping to elevate our conscience about Nature to the highest level, to create a pacific manifestation against the violations of Earth, and becoming a "Volunteer of Life", says Maria Veronica.
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The Quantum link

À propos “Gold Water: Apocalyptic Black Mirrors II”, an exhibition of Maria Veronica Leon V. at Macro Museum, Roma.
A major shift in global conscience: that's how we can describe the event that occurred when Ecuador became the first country to officially acknowledge and recognize the imprescriptible right of Nature and its ecosystems to exist and flourish, and consequently the right for the Nature to be cured or restored in case of aggression. It's an unprecedented legal, political and spiritual event, which took place in 2008 when the new constitution was adopted and Nature was defined as a subject of right. This « vision » or conception of the world unifies two trends of thought, one related to late development of environmentalism, incarnated bymilitants like Hugo Echeverría, a famous lawyer working in Ecuador; the other is related to the natives of Ecuador who firmly believe in the concept of « Pacha Mama » or Mother Earth.
Maria Veronica Leon V, a famous native Ecuadorian artist who currently lives and works in Dubai, perpetuating and transcending in her very own way this rich heritage. Through her life, her commitment and her art, she invites us to renew, reinvent and rebuild the core relation we have with Nature, with ourselves and with the essence of the reality.Why are we here? What are we supposed to do? What is the nature of our dreams and visions? Why are we embodied in a visceral habitat that binds us to a cosmic dimension?It is indeed a deep questioning, but following Maria Veronica on her path of creation, we feel that the answers are all bound to our innate creativity.
Regarding the personal level, we can say that Maria Veronica has also merged and revisited the spiritual legacy of her parents. Her mother was a painter and her father a politician, an intellectual and a humanist figure in Ecuador. Herself, as a young child started to express herself vividly, first through drawings and paintings, and later on while studying art, expanding her research to various medium, like videos or performances that she practiced in New York, Cuba, Paris and Venice among many other places before living in Dubai.Social and spiritual conscience, travels, boarders crossing (and/or limits), various cultures and traditions blending, the mixing of verbal and non verbal approaches (like dance or guttural singing)... These are some of the different aspects of her art and life today.
In that sense, the artistic and philosophical approach of Maria Veronica Leon V — visceral and technological, intuitive and conceptual —, is unique in its essence. Following the great success of the Ecuadorian pavillon that held during the last Biennale di Venezia, the artist reactivates and reformulates, for the Macro Museum in Rome, the art-environment that she had previously conceived in Venice. As a woman and as an artist, she felt a great sense of responsibility when she was officially commissioned to conceive the national pavillon. Fully aware of the syndrome of « artistic provincialism », Maria Veronica still wanted to be able to talk about Ecuador as a whole (id est, speaking-outloud for Quito and La Sierra but also for The Coast region), but she also felt the urge and the need to carry auniversal topic; in that case: Gold and Water.
After several conversations with the artist, I understood how bright and pertinent was her choice. It's not about the « lieux communs » or « clichés » concerning human greed,the capitalistic system or environmental problems — even though it's a substantial part of what Maria Veronica is dealing with. First, it binds us to the long story of the South-American continent and her ancestors, the great Incas and the pre-Colombian societies. And as the artist progresses in her work, she transforms herself physically, slow turning into an extra- terrestrial or mythical figure: secret and sacred rituals, masks, screams and dreams... It is as we are travelling in time, going back to a mysterious past, which is also the key to our future.
As her native country, the « Pacha Mama » (Mother Earth) and her ancestors are all intrinsic and constitutive part of herself, so is the water. And that simple truth resonates in many fields like quantum physics, cosmology, biology and psychology. Among many texts, here is what Maria Veronica writes about it: « We feel the churning power of the oceans and seas, interconnected in an energetic therapy, building barriers to resist industry’s atrocities;generating a second dimension of existence, where universal cosmic energy gives birth to a centric universal nucleus, from where an explosion of new fountains irrigates old affected waters and a new cosmic galaxy emerge. Waters’ new energy isstronger than industry ».
White light, blue water, dark stars, green dollars, gold and oven are like various aspects of our body-mind-spirit connection and therefore part of an « œuvre d'art total », mixing video, etching, photography and performance, producing what the artists define as « techno-theater », or « techno-opera », blending new philosophical and sociological approach with esoteric and hermetic tradition. That's how Maria Veronica embarks us on a physical and spiritual journey,a quest formeaning and self-reflection exploring a metaphoric Eldorado where Gold and Water reveal themselves as our ultimate fate, the alpha & omega of our human destiny.
The exhibition unfolds and spreads in various parts of the museum, inviting the visitors to discover in a progressive manner the various works exhibited. Definingher own territory, the artist uses the existing exhibition structures but she also creates new ones by bringing an industrial container into the space of the museum. It's like a womb, amine settlement or an athanor (the oven of the alchemist). Visually, the various works displayed at Macro Museum oscillate between kaleidoscopic and hypnotic geometry and oversized expressive self-portraits.
Primary matters, Nature and the body of the artist turn into vectors of artistic expression: it's an integrative process where concepts, thoughts and emotions blend and resonate in various ways, reaching a point of incandescence where a new state of mind is created, reborn and purified.

David Rosenberg Paris, mars 2016
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N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX
                                                            
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C 
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
Interview RAI: 20160405-RAI_3-TG3_LAZIO_1935-200303397m
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C
G o o g l e   C u l t u r a l   P l a t f o r m
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C

 

        

          Mat Lucia Vallarino Peet                            Francisco Alonso
            Project Collaborator                         Ambassador of Mexique in Dubai
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C 

                      David Rosenberg, Curator of the Exhibition
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C 
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[

NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C 
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[
-ARTE MAGAZINE
-ADKRONOS
-ARTE.IT
-ZERO
-FOUR MAGAZINE
-INFORMAZIONE
-DONNECULTURA
-COMUNE ROMA
-EL UNIVERSO
-ROMA ON LINE
-RAM
-LA HORA
-EXPRESO
-ANSA
-CORRIERE DELLA SERA
-ARTRIBUNE
-CASA MARTINEZ
-ROMA PERIL GIUBELEO
-EXHIBART
-THE CRON POST
-MUSEO MACRO



	

NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX 
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OK

NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OK

	

NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[CNGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C
LA BIENNALE DI VENEZIA-56 INTERNATIONAL ART EXHIBITION
NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ COK[C NGDORNG[ODKFNBO[KXDFNBOKXNFGBOK[NXF[OKBNXFGNBO[KXFGNOK[XNG [OKX GN[OKXCG NOK[FXG NO[FG NO[ [FOXKG N[OKCG N[OKCG NO[KCG [OKC FNOK[C N[OKCF NO[KC NKO[ 



VIDEO EXHIBITION AND OPENING 

Press Release

 "Dark Blue Visions"
  1. Extended Press Release _Ecuador Pavilion
  2. « The Gold Rush »
  3.  Spanish Press
  4. PDF Catalogue Apocalyptic Black Mirrors
  5. Biennale Catalogue Page, 56EIA.Vol2P_Ecuador_
  6. Words Ambassador form Ecuador in Italy
  7.  Kunstforum International
  8. L’oro Blu dell’Ecuador: Intervista a Maria Veronica Leon Veintemilla, June 2015


-Pavilion of Ecuador at Google Cultural Institute
-Google Cultural Institute




 

Different extracts of BLACK HOLES DEVOURING INDUSTRIAL NET

Click Catalogue: « GOLD WATER: APOCALYPTIC BLACK MIRRORS »

Click Video PAVILION OF ECUADOR/MARIA VERONICA WORK 

 

 

L'Or Blu

 MV Artworks for The Pavilion of Ecuador in La Biennale di Venezia

Universe in Universes


La Biennale di Venezia/National Participations


 

Maria Veronica

Visual Artist

 

María Verónica León Veintemilla represented her original country, Ecuador, at the 56th International Art Exhibition – la Biennale di Venezia. It is also thanks to the efforts of this artist that Ecuador introduced for the first time in History its own pavilion at La Biennale di Venezia, a milestone in the history of Ecuador. María Verónica León Veintemilla, a relevant artist for Ecuadorian Art History and one of today most dynamic artists from Latin America, developed successfully Ecuador’s offcial contribution to the 56th International Art Exhibition with the exhibition “Gold Water: Apocalyptic Black Mirrors” supported by the Culture and Heritage Ministry of Ecuador, the Embassy of Ecuador in Rome and the Ministry of Foreign Affairs and Human Mobility of Ecuador.

María Verónica is a pluri-disciplinary artist born in 1971 in Guayaquil, Ecuador; she lives and works in Dubai, where she is the first Latin American artist to make a solo show in U.A.E. and to be represented by a gallery in Dubai, U.A.E. From 1998 to 2013 María Verónica lived and worked in Paris, where she became the first contemporary woman artist from Ecuador to exhibit in a French museum, Petit Palais/Museum of Fine Arts of Paris (2008). She was invited to make a solo exhibition at the Galliera Museum, Paris (2006) and selected by the Cultural Affairs Department of Paris for “La Nuit Blanche” (2004). María Verónica has also taken part in a number of other international exhibitions most importantly Art Brussels (2012); Chapiteau de Fontvieille, Monte Carlo (2012); Cipriani New York (2011); Plaza Athenee Paris (2011); Spazio Thetis (2010), Venice; Guangzhou Art Fair (2008); the 52nd International Art Exhibition – La Biennale di Venezia (Latin-American Pavilion IILA, 2007); Theatre de la Ville, Paris (2000); Sylvie Rielle, Paris; Galerie de Nesle, Paris; Bill Tornade, Paris (1999); La Havana Biennial (1997); Quebec International Snow Sculpture Festival (1995); Beijing Latin American Art Festival (1994). In Ecuador: Metropolitan Museum, Quito (2013); MAAC: Contemporary Art Museum, Guayaquil (2005); Crystal Palace, Guayaquil (2004), Municipal Museum, Guayaquil (2000), La Galeria (1998/1995), Madeleine Hollander Gallery Guayaquil (1998/1995), Art Forum Quito (1996), British Council Quito (1995), between others.

As a multidisciplinary artist María Verónica León Veintemilla has been working with a variety of techniques: drawing, painting, printmaking, video art, video installation, video-poetry, digital books, performance and photography. From her early years the artist has shown her extraordinary talent also in portraiture and self-portraiture. She made portraits of prominent gures like Bjork, Isabelle Adjani, Pina Bausch, Dominique Mercy, Julie Stanzak, Helena Pikon, Placido Domingo, Bill Clinton and diverse Ecuadorian, Latin American and European personalities. In Ecuador María Verónica worked with “La Galeria” in Quito (95/98) and Madeleine Hollaender in Guayaquil (95/98). In 1996 Guayasamin invited her to colaborate with him in murals paintings for “La Capilla del Hombre” in Quito. María Verónica attended the School of Fine Arts, Central University in Quito, Painting and Printing specialization , where she was also Dean Assistant of Printing Department.

Her life and avant-garde work make her a leading figure in the international contemporary art scene.

 

www.mariaveronicaworld.com

lanoveaunee@hotmail.com


 

 

 

PARIS 2008

Maria -Veronica Leon V, ou « l’art de tirer le portrait »

Peu d’artistes contemporains osent ce qui ne se fait pas. Maria – Veronica Leon provoque les esprits… L’artiste se réapproprie un genre pictural tombé en désuétude, le portrait.

Comme Ingres, elle ne touche pas à la psychologie de ses modèles comme lui, à en croire Baudelaire, elle pense « que la nature doit être corrigée, amendée; que la tricherie heureuse, agréable, faite en vue du plaisir des yeux, est non seulement un droit, mais un devoir. » « Je veux qu’ils se découvrent différents,je veux les sortir de leur quotidien, je les relance ! » dit –elle.

Elle leur invente alors un environnement aux dimensions insoupçonnées, leur crée une « vie nouvelle » dans et pour la peinture. Dans cette perspective plus ouverte de concevoir l’art du portrait, elle se permet de transformer son modèle en personnage mythologique et du même coup de son statut de genre mineur « l’art de tirer le portait » devient chez elle une peinture au sens large du terme, une peinture aux multiples histoires, une mythologie.
Le cycle des toiles représentant la Duchesse de Galliera est exemplaire. La célèbre mécène des arts génoise interprétée par l’artiste devient l’héroïne d’une véritable épopée qui traverse les âges.

Maria Veronica Leon peint ses amis, célébrités, mères avec leur fille… Cernée à plat et de face.

Chacune de ses effigies est intimement liée à un espace pictural qui lui est propre. Des formes rondes et fertiles traversent les corps, géométries incaïques, constructivistes, rythmiques obtenues par des couleurs fauves.
Les symboles comme des écritures cabalistiques dont seules les initiés en connaissent le sens secret peuvent occuper la toile entière transcendant la figure.

Des huiles, collages, acryliques, images de synthèse, peut importe le matériau, c’est le résultat qui compte.

Impunément allégorique et cosmique s’inspirant de la nature qu’elle dénature, puisant dans son psychisme, prenant à la bande dessiné ce dont elle a besoin, sa peinture est une peinture esthétiquement transgressive. Et par surcroît une peinture de femme sud américaine ce qui met du feu sur l’huile et du sel dans les épinards, la joie et le tragique d’un baroque réinterprété.

Les motifs floraux sur la robe de la Duchesse de Galliera les colliers semblables aux algues marines, effets de pierreries et coquillages pour le portrait de Philippe Ferrari …
Elle aime les caméléonades…Maquillages, étoffes, toilettes très simples, parfois savamment ajustées, dentelles vaporeuses cachent, enveloppent, métamorphosent le modèle. En guise de collages, il lui arrive d’utiliser des C.D.
De leur éclat clinquant comme des agaçantes et provocatrices mosaïques contemporaines ces matériaux usuels prennent la lumière irritant le spectateur.

La démonstration ostentatoire de ce mundus muliebris la rapproche de Léonore Fini. Sphinge sombre et extatique Léonore Fini appartient déjà à l’histoire tandis que Maria – Veronica Leon invente un monde post contemporain au rythme trépidant de la techno.

Dans l’un de ses autoportraits auquel elle lui a donné le titre exotique de «La Emperadora de China » elle se présente torse nue, assise dans la position de lotus, sauvage, moitié verte et moitié rouge, extravagante crâneuse. Elle porte une cravate, fend son tableau parce qu’en révolte contre le milieu conventionnel dans lequel elle a grandi, parce qu’elle est autrement de ce que l’on peut penser d’elle, parce qu’elle est avant tout une peintre et une femme libres !

Comme Klimt elle aime l’or. Pour le peintre Autrichien, l’éclat de ce métal précieux rappelle Byzance. Pour Maria -Veronica Leon la spiritualité Incas, la lumière de la Cordellière des Andes, la dimension solaire dont elle auréole ses personnages. Ils nous regardent droit dans les yeux altiers et morganatiques ou bien souriants, comme pour poser, toujours en représentation jamais à l’abandon.

La dimension amoureusement humaine de l’art de Maria – Veronica Leon on la retrouve dans ses dessins. Elle exécute des masques et des portraits admirables.

Son dessin semble avoir été prit à la dérobade non seulement à une autre expression artistique, mais à l’une de plus grandes danseuses contemporaine qu’elle a longtemps accompagné dans ses tournées, Pina Bausch.

Sur des petits formats sur papier, le stylo-bille glisse au fil d’un trouble naissant. L’indicible silence du corps s’évapore un peu comme dans le pointillisme de Seurat. Des corps qui s’étirent dans la beauté et le désir puis se replient sur eux-mêmes. Ils souffrent peut-être, d’autre fois expulsent l’énergie de la vie, jouissent se laissent regarder, adorés.
La justesse des corps en mouvement rappelle le sublime Degas, proche lui aussi de danseuses de leur jeunes corps malléables.

Je n’ai pas parlé des performances, des vidéos du vaste répertoire visuel de cette artiste équatorienne. Ni de sa vie et de ses voyages et de ses rencontres exceptionnelles. Une prochaine fois, peut-être… Peu d’artistes contemporains
sont habités par la conviction d’accomplir à travers leur art une mission destinale, c’est salutaire !

Ileana Cornea Paris mars 2008
Critique d’art et curateur

 

 

 

 

 

 

 


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