Maria Veronica Leon V artist from Ecuador in Paris

MACRO ROME

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

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 NGDORNG[O
Click MARIA VERONICA - MACRO Exhibition Catalogue
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[C 

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 and Claudio Crescentini-,attracted many visitors in April 2016. Thanks to this thrilling exhibition, "Apocalyptic Black Mirrors II" and interactive workshops, Maria Veronica Leon, -through art, science and technology-, brought strong reflexions to the public about the urgent care that humankind needs to provide to water and Earth's resources, in order to preserve 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 Art in Rome.
"We are grateful to the hundreds 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.

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

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

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A


M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A



		
		

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

                  

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

                                                     

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A 

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A 

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A 

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

                     

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

 

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A


Un Grito entre Agua y Oro

por Bernard Fougeres

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

Edward Munch contó como había nacido en su mente la famosa pintura llamada El Grito: “Iba por la calle con dos amigos cuando se puso el sol, el cielo se tornó rojo sangre, percibí un estremecimiento de tristeza, un dolor desgarrador en el pecho. Me detuve; me apoyé en la barandilla, preso de una fatiga mortal. Lenguas de fuego como sangre cubrían el fiordo negro azulado y la ciudad. Mis amigos siguieron andando, yo me quedé allí, temblando de miedo. Oí que un grito interminable atravesaba la naturaleza.



Puedo imaginar a María Verónica León recordando aquel alarido frente a los elementos vitales que son el agua y el oro. Años atrás se dejó fascinar por los espejos acuáticos en los que se mira Venecia, pero después recordó el oro que los españoles fueron a buscar en América, los ríos actualmente contaminados por el petróleo. El objetivo primordial de la conquista española y portuguesa consistió en la explotación de los metales preciosos para colocarlos en el mercado europeo, lo de la cruzada Cristiana fue mero pretexto. María Verónica recordó de igual manera el oro que usan los multimillonarios de Dubái para enchapar su Ferrari o su Lamborghini, sabe que llegará el momento en que se podrá en el planeta conseguir gasolina pero no más agua sino a precios exorbitantes. Ambos elementos, agua y oro, mezclados por la artista, como el panadero amasa el pan nuestro de cada día, envolverán extrañas máscaras cansadas de su inexpresivo pasado. Aquellas máscaras clamarán su angustia fruto del pasado, temor al futuro. Nuestra artista ecuatoriana es inquieta, incapaz de enmarcarse en un movimiento determinado, se desafía cada día frente a los materiales más diversos. Su alma cosmopolita conoce las noches áureas de París, ciudad donde reside, las aguas que amenazan a su amada Venecia. Es posible que recuerde a Thomas Mann y la muerte en Venecia escuchando el adagietto que Mahler puso en su quinta sinfonía.



María Verónica es también retratista, como tal busca extraer lo que esconde la envoltura de sus modelos, pues la pintura muchas veces sabe más que la fotografía (tenemos fotos de Monet, Renoir, Tolouse Lautrec, no necesitamos ninguna de Rembrandt pues tenemos 9O de sus autorretratos, ni de Van Gogh del que tenemos 3O. Aprendí mucho de los retratos que hicieron Humberto More y Cristian Mera aquí en Ecuador.



María Verónica tuvo su propio pabellón en la Bienal de Venecia; su obsesión por las formas que se mueven, tanto en la naturaleza como en el ser humano, marcan las etapas de su creatividad, así como la cábala, misterio que encierran números o letras. Fue hace poco invitada a exponer sus obras en el museo de Arte Contemporáneo de Roma. La prensa italiana ha destacado ampliamente aquel evento. El arte es obra, obra es trabajo, resultado de una larga maduración la que puede excepcionalmente expresarse en cuestión de segundos. El anillo matrimonial de oro evoca eternidad. En el amor o en el arte se llama alquimia, magia, anhelo quimérico de eternizar el instante. María Verónica es mas conocida en Europa que en su propia tierra.

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A 

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A 

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A 

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A  -  M A C R O   E x h i b i t i o n   C a t a l o g u e

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

RAI ITALY TV Interview: 20160405-RAI_3-TG3_LAZIO_1935-200303397m

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

             

 Mat Lucia Vallarino, Project Collaborator         David Rosenberg, Curator of the Exhibition                                    

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

                                      Francisco Alonso, Ambassador of Mexique in Dubai

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A


M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

 

P  E  R  F  O  R  M  A  N  C  E

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

P  E  R  F  O  R  M  A  N  C  E

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

P  E  R  F  O  R  M  A  N  C  E

M A R I A   V E R O N I C A

P  E  R  F  O  R  M  A  N  C  E

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

P  E  R  F  O  R  M  A  N  C  E

P  E  R  F  O  R  M  A  N  C  E

P  E  R  F  O  R  M  A  N  C  E

RAI ITALY TV Interview: 20160405-RAI_3-TG3_LAZIO_1935-200303397m

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

 Click:

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

 Click:

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

 Click:

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

 Click:

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A


M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A


M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

C o l l e g e   S t u d e n t s   W o r k s h o p s   a t   M A C R O

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

 

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

M A R I A   V E R O N I C A


M A R I A   V E R O N I C A

M A R I A   V E R O N I C A

 

Commentaires fermés sur MACRO ROME

Comments are closed.