As usual, Futura – Centre for Contemporary Art holds three exhibitions on a monthly basis. Since the last visit, this place refreshed not only the artists, but it also changed the space by moving some of the walls to evoke a sense of something new. Of course, it is associated with the placement of certain artworks, but what it wouldn’t do for pleasure of art?
Jimena Mendoza, Thomas Jeppe, Kasia Fudakowski. These are the names, which provide a walk through Futura full of mysteries. This special combination is offered to us by the curator Michal Novotný, who is one of the twenty most influential young curators in Europe. Let us try to focus on Mendoza and let us try to find out why. Jimena Mendoza is a Mexican artist, who now studies at Prague´s UMPRUM. Her attitude to art is not typical, and she invites us to look at (not only her) art, from different perspectives. We can see various concepts which she finds interesting and it is evident also in the works of The Notion of Distance (Threat).
If we realize that there is a threat somewhere, we usually start to look for some external sources that can threaten us. However, what if we are those, who create a world dangerous for others as well as for ourselves? Perhaps, we perceive our society as if it were full of threats and we have to fight against them. But we can change them into the aspects which will help us with “being in nowhere.” We can create the world full o fantasies which do not allow us to be afraid of threats, but mostly do not be the threats. But, how far are we to the understanding of ourselves? Is our notion of distance the threat from which we have to suffer? If we are able to overcome the distance, which is between us and everything we like, there is no threat at all.
If we move to the art world, the notion of the distance between artists and their works is lost in the desire for artistic bliss. So what is made through the connection of an artist and his or her work? Jimena Mendoza says that her “hands have always been involved in [her] projects as [her] primary tools.” But, is this the first connection which occurs between artists and artworks? It is not only about the physicality, but it is also about a fantasy and gift, which is superior to the body that creates the art. The primary tool is, therefore, the idea which is not a result of the artist´s effort. Nobody knows where it comes from, but this mysterious world wants us to be wondering about its origin.
We are wondering not only about the art´s origin, but we are also interested in the aesthetic side of art. Aesthetics is something that we constantly recreate in our artistic minds, and Jimena Mendoza brings a completely new approach to that. She is trying to depict the human errors and industrial spirit in her works. She is focused not only on beauty, but also on dirt. Hence, it can be regarded as perfection in imperfection.
Mendoza´s relation of dirtiness and excessive decorativeness can be compared to the relation of negativity and positivity. It is important to mention that when Jimena Mendoza uses this oxymoronic filthy beauty, we can realize that we produce so many beautiful things from something which looks negative at the first sight. There is a fear, which we change into self-confidence, there is a hatred which leads us to love and there is a skepticism which is a means to be positive.
Jimena Mendoza is “very happy with the present,” so we can predict that she does not consider the past as an element distant from the present time. Nevertheless, the presence without the past would not exist. It is questionable whether we are finding the chains in our past experiences or not, but we have to use the past to progress, to be happier, and to be.
I know you are not the threat,
I know you are not far away.
I know you are here,
for I am in you and you are in me.