IDENTITY AND HOME – ACCORDING TO SOL CALERO IN THE CA2M MUSEUM
Sol Calero (Caracas, Venezuela, 1982) uses the guanabana, a fruit endemic to Central America and the Caribbean, to symbolically instrumentalize the creation of a representation of the feelings of belonging, home, everyday life and stereotypes through the wide conquest of the spaces of the Museo Centro de Arte Dos de Mayo, transformed for the occasion into visual and popular references of a well-known and recognized Latin America.
Buscando guanábana ando yo delves into the conceptual critique of emigration, reference and displacements through installations created ad-hoc to extol, without much consideration, the reality of those who remain physically far from their homeland and native environment, but who refuse to abandon their identity, even though, at times, that same identity seems to have been transformed into something very different and, in fact, sometimes into something totally new.
This recreation starts, first, from the work and proposals that Calero has been developing around architecture as a structural framework in which to deploy all the techniques that contribute to the latent variety of ideas and results with which the Venezuelan artist decorates and builds that reality. The mural painting overflows with vegetables and looks sidelong to a tropicalist revision, advancing the idea of the somewhat hackneyed cliché, but also underpinning the importance of the known environment, concepts that are reinforced by the use of common space or the objects of daily exuberance and identity that are deployed by the plant.
In addition to construction and reconstruction -in its meaning of evocation that redraws and materializes memory-, and which is specifically reflected in two of the rooms, a version of his installation El autobús takes on special prominence from the center. This work, which was presented at the Tate in Liverpool in 2019 and at the Kiasma Museum in Helsinki three years later, can serve as a new point of departure, both for its informative character in its almost caricatured use of the iconography of the tourist and for its ease of interaction.
Buscando guanábana ando yo also exhibits his sculptural series Milagritos, the telenovela Desde el jardín, first shown at the Scottish David Dale Gallery & Studios, and several paintings that, without abandoning a certain architectural outline, consolidate several of the interventions exhibited and that serve, metaphorically, as accesses to that memory and that experience from the exhibition space.
Calero thus proposes an abstract journey, full of doubts between reality and expectation in clear connection with that locative and temporal movement of migratory movements. It can be said that the artist devotes part of her work to the difficult task of clearing that homogeneous Latin America and finding true identities through memory and its recreation, idealizing the symbolism and tracing, through the channeling of her experience, an embodied criticism with which she embodies the value of what is different in a world of global, unique and false conceptions.
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Sol Calero. Buscando guanábana ando yo can be seen until January 5, 2025 at the Museo Centro de Arte Dos de Mayo, Avda. Constitución 23, Móstoles (Spain).
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