THE JCMAC COLLECTION PRESENTS A DIALOGUE BETWEEN INDIGENOUS CULTURES AND MODERN ART

The JCMAC conserves a masterly modern and contemporary art collection that have been discussing, for several years now, with a vast number of Ye'Kwana indigenous pieces. Compiled by the Venezuelan anthropologist Charles Brewer-Carías since the sixties, the found objects have been of special interest in relation to the geometric art since the beginning. Thus, the collection establishes a dialogue between modern and contemporary art with pieces belonging to indigenous peoples.

From the curatorial team of the collection has been explain: “The acquisition-without being new-, generated a collision; the encounter between two universes of meaning, two symbolic, formal and technical repertoires that demand an approach, an attempt to understand what happens when this two worlds converge. How is the dialogue between this collection of "primitive" works and the manifestations of modern and contemporary art is established? Where do their differences reside and what do they reveal to us? Why, in short, should it be a problem that these works (strictly contemporary from the chronological point of view), coincide in the same collection?” It is, indeed, to these questions that the exhibition replies. A harmonic relation between indigenous productions from Brazil an Venezuela Amazon region and modern geometric abstraction.

According to the collection, some of the artists included in this dialogue are Joaquín Torres-García, Mathias Goeritz, Jesús Soto, Mira Schendel, Joseph Albers, Max Bill, Carmen Herrera or Gonzalo Fonseca. All of them linked, mainly by the language economy used in their productions.

In this way, Convergences / Divergences, Primitve Source of The Modern aims to emphasize the parallelism between modern -mainly- and contemporary artistic productions with the symbols and myths of the indigenous cultures of the same region. All this, through a sublime conversation between the most relevant pieces of both periods.