La conquista del reino de los miedos
Celina Eceiza
Móvil
02.11.19 | 21.12.19
Celina Eceiza, La conquista del reino de los miedos, 2019, view of the exhibition at Móvil. Ph: Courtesy of Móvil

In a show curated by Alejandra Aguado and Solana Molina Viamonte, Celina Eceiza (Tandil, 1988) created a soft and enveloping installation at Móvil. The works in it, most of them on fabric, were peopled by an imaginary of forms somewhere between the dreamlike, the bucolic, and the hallucinatory. The work combined humor with images bound to the holy in what the artists calls, “a whimsical [mix] that finds commonalities between different cultures and beliefs, images and forms: an Arab-seeming tent, the awning of a kiosk, a still life by a naïve painter, chance decorations, and flea-market craft techniques.” That combination of elements, “that coexistence of images, cultures, techniques, goddesses, and demons, is what makes up this landscape of abundance where hunger, unease, weakness, and threat as we known them are nowhere to be found,” explains Aguado. Eceiza shapes, Aguado goes on, “a landscape of abundance and calm that makes the possibility of flight real.”

Celina Eceiza, La conquista del reino de los miedos, 2019, view of the exhibition at Móvil. Ph: Courtesy of Móvil

Regarding her images, the artist writes that they “contemplate the world while also referring to the low, the occult, the mythical, and the sublime, as well as to crass daily life in bucolic key.” On the occasion of La conquista del reino de los miedos, Eceiza wrote, “There is a convent around the corner from your unconscious/where a coven of butterflies lives./They drink wine, and adorn with flowers the place offered them./Some of the flowers are withered/and others blooming./The world to flee from./ Flight to connect to.” In the space she created with her work, the circle of possibilities opened up fearlessly until it wrapped around to form a circle. As Aguado observes, “freely, carelessly, and with no rigid hierarchy” “forms and bodies that convey an energy [unfold] on her canvases, an energy that wavers between idleness and pleasure, as the figures linger with no urgency and a certain bounty arises from their stance—confident and satisfied, unburdened by any concern.”

Celina Eceiza, La conquista del reino de los miedos, 2019, view of the exhibition at Móvil. Ph: Courtesy of Móvil
Celina Eceiza, La conquista del reino de los miedos, 2019, view of the exhibition at Móvil. Ph: Courtesy of Móvil
Celina Eceiza, La conquista del reino de los miedos, 2019, view of the exhibition at Móvil. Ph: Courtesy of Móvil

Techniques, materials, and images from different cultures “seem to flow together. They are, strikingly, always in dialogue, connected, stacked, linked. They act on one another, blossom from one another, hitched together like elephants, trunk to tail, expectant of endless connection,” explains Aguado, suggesting the possibility of a new world, of “heaven on Earth.” That because, among other things, the work “salvages forms as part of an ecosystem, both natural and symbolic, that welcomes anything that comes before it, a place where life and death meet, but never clash.”

Celina Eceiza, La conquista del reino de los miedos, 2019, view of the exhibition at Móvil. Ph: Courtesy of Móvil
Celina Eceiza, La conquista del reino de los miedos, 2019, view of the exhibition at Móvil. Ph: Courtesy of Móvil

Content produced by arteBA. Annual Report on contemporary Argentine art.