GENESIS AND BORICUA RESONANCES IN REVOLÚ
The birth of a new collective is always good news, and it is so for several reasons. Firstly, because of the existence of collective dynamics that bring together different points of view and, second, because, in a didactic way, it contributes to illustrate and understand the current cartographies of art. For the Revolú collective, formed by Andrés Meléndez (San Juan, Puerto Rico, 1996), Miguel Ángel Feba (San Juan, Puerto Rico, 1994) and Marcos Daniel Vicéns (Bayamón, Puerto Rico, 1996), their first exhibition experience is the result of an artistic residency in which, almost blindly, they have been able to build those specific ties to start from the individual and reach the group identity.
Horizontes boricuas: resonancias de la isla (Boricua Horizons: Island Resonances) exhibits the results of that residency promoted by Zapadores Ciudad del Arte and the Heriberto Nieves Foundation, the flow of shared work and the meeting point of three artists with their lines of work that, although different, share the understanding and idiosyncrasy of the territory and nature as a final point. The exhibition, displayed at the Museo La Neomudéjar in Madrid, brings together this collective whole, interspersing the language proposals of each of the members of Revolú although, given a certain expressive impossibility (not so thematically), we can clearly differentiate each style. The total navigates between those origins of special attention to biodiversity and Puerto Rican geography, with the production of conceptual works that allude to the topography and to the seabed and the ocean itself.
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Marcos Daniel Vicéns. Horizontes boricuas: resonancias de la isla. Cortesía Museo la Neomudéjar.
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Marcos Daniel Vicéns. Horizontes boricuas: resonancias de la isla. Cortesía Revolú.
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Marcos Daniel Vicéns. Horizontes boricuas: resonancias de la isla. Cortesía Museo la Neomudéjar.
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Miguel Ángel Feba. Horizontes boricuas: resonancias de la isla. Cortesía Revolú
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Miguel Ángel Feba. Horizontes boricuas: resonancias de la isla. Cortesía Revolú
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Miguel Ángel Feba. Horizontes boricuas: resonancias de la isla. Cortesía Revolú
It could be said that this framework created by Marcos Daniel Vicéns and his marine resonance sculptures gives rise to the generation of a space for action, delimiting a theoretical and practical map that acts as a continent and on which the urban and natural, acrylic and organic languages of the other two components are explored. Miguel Ángel Feba gathers both worlds with his own technique of painting as a material, although organized as an organic element in his support with which he reaches the core of a critical vision of his environment, while Andrés Meléndez seems to follow the same path, although his language is eminently urban and even pop, his figurative naarrative alludes to the landscape and nature.
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Andrés Meléndez. Horizontes boricuas: resonancias de la isla. Cortesía Museo la Neomudéjar.
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Andrés Meléndez. Horizontes boricuas: resonancias de la isla. Cortesía Revolú.
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Andrés Meléndez. Horizontes boricuas: resonancias de la isla. Cortesía Revolú.
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Andrés Meléndez. Horizontes boricuas: resonancias de la isla. Cortesía Museo la Neomudéjar.
Thus, we can understand these results as the first great proof of collective functioning, also indicating the need to see that set created as content and continent as a single idea and walking towards the creation of a single identity. For the moment, its central axis alludes to those burning issues, proper and common to several of these geographies that constitute a conceptual reserve that is exploding and that focuses on the necessary reinterpretation of memory, territory and that future which looks back on memory.
Horizontes boricuas: resonancias de la isla can be seen until the end of August at Museo La Neomudéjar, Calle Antonio Nebrija, Madrid, Spain.
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