With photography, beatriz Ezban explores art in the era of distortion

In the post -TRUTH era, from the identities and wrong news, and the virtual reality in social networks, from the images created by artificial intelligence and narcissistic costumes of personal photos, “Art is a tool that can help us to drop again in our midst Batrise Ezzan (1955).

At this time, it is necessary to defend art, because there is an intention to unify. He says in an interview:

The visual artist and the philosopher emphasizes that “art allows a deep exploration to whom it is. From there there is an act of resistance to the unified intention that crushes us.”

This “urgent question about building identity within a cultural system in which references are mainly followed by superficial models”, inspires Real and doubleThe latest EZBAN will be shown until June 8 at the Mexican Culture Symposium Gallery.

With the Michel Plansobi coordinator, the exhibition combines 50 two -dimensional pieces, most of which are modern production, made with different techniques renewing the language of drawing; In a dialogue between him and between collagePhotography and drawing.

At the forefront of 70 years, which will be achieved in August, which was formed in the workshop that Gilberto Navarro directs to the National School of Plastic Arts in Unam, he believes, as an artist, “You must face and innovate all the time, in response to the changes we are living in.

I wanted to reflect this in my work. Do not keep in a form that has already been tested or repeated the same image. The painting, art, must remain alive to be valid, to remain interesting. “Every creator wants to continue talking,” he added.

Whoever has more than 60 collective and 150 collective exhibitions, national and international, says, “Technology is an impressive, because we can barely capture what is happening to us as humanity.

That amazing speed in which everything flows. If there is certainty or fixed, this movement will be increasingly accelerated. “This makes me think of merged or disintegrated the material, which always cared about me.”

The painter wonders where the attention of today’s community is. “We are involved in the screens and sensory and personal relationships have been modified. Now they are through devices. We have lost the ability to link directly. It is very sad, because the richness of the language is lost, both verbal and body.”

EZBAN has been determined in recent years. “Mine was never the picture. This proposal was a very unofficial issue. I started working with a great material, after searching for flashes to find integration and disintegration. Thus I found a mirror sheet, and it is not a solid mirror that returns a sincere image of ourselves.

What a wonderful mirror sheet is that if you move Micra, the image completely changes. It turns and allows you to play and explore it, and find out how it is combined with the work itself, because you look there. “The artist does a job, but the spectator must really re -establish it with his counterpart,” he says.

Details that the works carried out in 2006, during a residence in New York. “The immigrants began to put my fabrics. It was strange to witness this change in my suggestion.

With the epidemic, I realized that we are all immigrants, because we had to migrate to the inner part of our homes and change everything. Of course, it is much more exciting when we have to leave our land for some circumstances and deportation to unknown places, in another language and another culture. “

He says the title of the exhibition indicates “art where we have a double we must build from reality so that we can digest it. The reality is very crude for the experience directly.”

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CVA