Poncho Rago (2000, CDMX) explora las posibilidades t\u00e9cnicas de la apropiaci\u00f3n como una
\nherramienta creativa para replantear la perspectiva colectiva sobre la originalidad y la copia
\nen el arte. Esto lo lleva a cabo al intervenir pinturas, fotograf\u00edas antiguas y dem\u00e1s objetos
\nencontrados en tianguis de la Ciudad de M\u00e9xico, los cuales interviene utilizando t\u00e9cnicas
\nmixtas e incorporando simbolog\u00eda del imaginario colectivo mexicano y elementos de su
\npropia nostalgia.<\/p>\n
Estas apropiaciones generan un di\u00e1logo entre la composici\u00f3n original y la intervenci\u00f3n,
\nestableciendo un v\u00ednculo entre pasado y presente. Al trabajar sobre composiciones
\npreexistentes, cuestiona la idea de que una obra no puede ser alterada tras su \u201cfinalizaci\u00f3n\u201d.
\nAs\u00ed, su trabajo desaf\u00eda la noci\u00f3n del arte como una actividad exclusivamente individual y la
\noriginalidad como \u00fanico punto de partida.<\/p>\n
\u201cP\u00e1sele, p\u00e1sele: Arte bueno bonito y apropiado\u201d no es una exposici\u00f3n \u201coriginal\u201d y se
\nenorgullece de ello. La intenci\u00f3n de esta muestra es abrir la perspectiva de los espectadores
\nhacia una forma de creaci\u00f3n contempor\u00e1nea presente incluso en obras que no abordan
\ndirectamente la apropiaci\u00f3n, ya que, al final del d\u00eda, todos los artistas roban, copian y se
\napropian. Al mismo tiempo, busca recontextualizar la copia y la apropiaci\u00f3n en el arte,
\nconvirti\u00e9ndolas en t\u00e9cnicas art\u00edsticas y herramientas creativas.<\/p>\n
El montaje de las obras forma un vinculo con el espacio en el que todas estas piezas fueron
\nencontradas originalmente: el tianguis. Fueron halladas en el suelo, sobre la cl\u00e1sica lona rosa
\ndel tianguis y esta exposici\u00f3n busca transformar el espacio en una yuxtaposici\u00f3n entre el
\nambiente del tianguis y el de una galer\u00eda de arte, reforzando un contraste entre lo informal y
\nlo institucional.<\/p>\n
Adem\u00e1s, para conectar a\u00fan m\u00e1s esta exposici\u00f3n con el tianguis, se integrar\u00e1 una de las
\npr\u00e1cticas m\u00e1s emblem\u00e1ticas de este: el regateo. Esta acci\u00f3n estar\u00e1 abierta a todas las obras
\nexpuestas, desafiando las estructuras tradicionales del mercado del arte y visibilizando el
\norigen popular de los objetos intervenidos.<\/p>\n
ENGLISH
\nPoncho Rago (2000, Mexico City) explores the technical possibilities of appropriation as a
\ncreative tool to challenge and reframe the collective perspective on originality and copying
\nin art. He puts this into practice by appropriating paintings, vintage photographs, and other
\nobjects found in the street markets (tianguis) of Mexico City. Using mixed media techniques,
\nhe incorporates symbology from the Mexican collective imagination alongside elements of
\nhis own nostalgia.<\/p>\n
These acts of appropriation create a dialogue between the original composition and the
\nintervention, establishing a bridge between past and present. By working on pre-existing
\npieces, he questions the idea that a finished work is untouchable. In doing so, his practice
\nchallenges the notion of art as a purely individual activity and originality as the only
\nlegitimate point of departure.<\/p>\n
\u201cP\u00e1sele, p\u00e1sele: Arte bueno, bonito y apropiado\u201d is not an \u201coriginal\u201d exhibition\u2014and it
\ntakes pride in that. Its aim is to open up the viewer\u2019s perspective to a form of contemporary
\ncreation that exists even in works not explicitly dealing with appropriation\u2014because at the
\nend of the day, all artists steal, copy, and appropriate. At the same time, the exhibition seeks
\nto recontextualize copying and appropriation in art, presenting them as valid artistic
\ntechniques and creative tools.<\/p>\n
The installation of the works creates a connection with the very place where they were
\noriginally found: the tianguis. Discovered on the ground, laid out over the classic pink tarp
\nof the street market, these pieces are now exhibited in a space that becomes a juxtaposition
\nbetween the tianguis atmosphere and that of a gallery\u2014reinforcing the contrast between the
\ninformal and the institutional.<\/p>\n
Additionally, to further connect the exhibition with the spirit of the tianguis, one of its most
\nemblematic practices will be incorporated: haggling. This gesture will apply on all the
\nartworks shown and it challenges the traditional structures of the art market and highlights
\nthe popular origins of the objects being reimagined.<\/p>","protected":false},"excerpt":{"rendered":"
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