unsettled primaries

Ricardo Alcaide [ 2014 ]

For Occupy Bands, my starting point is the representation of primary colors, the triad of the Venezuelan flag, as spoiled, vulnerable and symbolically altered. In this interpretation of the original layout, I used modified, faded, twisted hues that replace the colors recognizable in the original flag. A wooden frame defines the boundaries for each color. Even properly built, the frame still allowed the colors to expand and accidentally merge underneath the limits.

[ see work ]

Jaime Gili [ 2014 ]

The red is from a real painting that was being painted in a real studio. All other colors are watered down, all except the red which seems solid. The yellow comes from inside the body of the artist. And the world is still not in peace.

[ see work ]

Dulce Gómez [ 2014 ]

My interpretation, "Who's afraid of Yellow, Red, Blue and Rubber Band?" alludes to Barnett Newman's iconic work "Who's Afraid of Red, Yellow and Blue." I was interested in both Newman's use of primary colors and the use of the verb "fear" in the title, and decided to add a rubber band to the modest-scale work, one that is used to hold together bolívar bills. It is well known that heavy duty rubber bands have been used in protests to sling rocks over barricades and into the ranks of the police and national guard as response to the rubber bullets, repression and more generally to protest the asymmetrical civil war being waged by both armed police and paramilitary groups, but here, as well as in other works I've done in the past, I am using the rubber band to activate the composition and suggest other meanings; the rubber band joins the other color bands while evoking a feeling of elasticity. My response is itself a way through doubt and fears that also accompany one's process in the studio.

[ see work ]

Esperanza Mayobre [ 2014 ]

I live in a place and I live in a place where I don't live anymore. I cannot say I live more in one than in the other. I became an immigrant.

The patriotic symbols never meant much. The landscape meant more. But strangely I do identify myself when I see yellow, blue, red. It has to be in that order. It cannot be red, blue, yellow or yellow, red, blue or blue, red, yellow.

[ see work ]

Ana Maria Mazzei [ 2014 ]

I conceived these photos as three gestures uniting hands, mouth and primary colors. Primary colors for me have been turned into a gag, synonymous with lack of freedom. I have come to see primary colors with a kind of indifference due to the widespread manipulation and authoritarianism with which patriotic symbols have been used in politics in the last decade or so.

[ see work ]

Teresa Mulet [ 2014 ]

taking historical facts (anecdotes) as starting point

1_ an anecdote from the fall of the First Republic in 1812, according to which Francisco de Miranda, when apprehended in La Guaira, shouted: “bochinche, bochinche, esta gente no es capaz sino de bochinche” (“ruckus, ruckus, these people are only capable of ruckus”)

2_ on the occasion of the VI International Congress of the Spanish Language, held in Panama in 2013, the journal “El País” from Spain organized a tribute to Spanish as spoken in Latin America. Writers from each Spanish-speaking nation of the New World were asked to choose the word that best described their country. For Venezuela, poet Rafael Cadenas proposed “bochinche” (ruckus, uproar, mess).

on rereading the word “bochinche”
and rethinking the idiosyncrasies and identity of Venezuelans,
which seem to have remained unaltered since the XIX century,
on the contrary, they have become fixed and immutable

its resonance endures; we still
identify with the same word

these two facts make me ask

how to reinterpret the word “bochinche”
in the current sociopolitical situation?
how to make a flag in present-day Venezuela?

[ see work ]

Susana Reisman [ 2014 ]

As an artist and photographer I am consistently moving between our analog, physical, three-dimensional world and that of the virtual, digital, through-the-screen two dimensional one. This entails capturing light and color and translating this information via the computer into prints. This translation occurs in a world of additive primary colors – RGB (red, green, and blue), my primary colors by default. By default, is a result of those two worlds colliding – through printing and scanning – allowing the messiness and inaccuracies of translation to be reflected.

[ see work ]

For Not every color within each band is the same, I began by creating a rectangular image simulating the colors of the Venezuelan flag. I have to admit that I have grown to be a bit averse to these colors. I then decided to zoom into the image in an attempt to see the make-up of each of these bands of colors. Yellow, blue and red are made of equal sized pixels and yet not every color within each band is the same. This image is a result of my imagining new political alliances and leanings spreading among the Venezuelan citizens. I wanted to suggest a misalignment in ideologies, a dissidence from within.

[ see work ]

Ex-patria is a less systematic, more improvisational piece, dedicated to Gabriela Montero as I admire her courage in being outspoken about the economic and political situation in Venezuela, and more specifically the violation of human rights.

[ see work ]

Luis Romero [ 2014 ]

After reading the instructions initially given, I decided to set my own parameters (DIY)

The initial premise alluded to the proportionality of the two main political factions in Venezuela, and their respective identification with two of the primary colors (blue and red).

I asked myself where to place the minorities not represented by these two factions
- With what color should they be represented?
- Given that yellow is the remaining color of the triad of primary colors; naturally I decide to use it to represent that segment, often ignored.
- I’m interested in seeing how colors act as graphic representations of politics.
- I decide to use triangles in order to break with the rigidity of the background’s rectangular shape.

In the case of the image I titled Essay on minorities, in fields of equal dimensions (blue and red), I place yellow color fields that represent minorities to see how they, in turn, affect the fields of the majority.

[ see work ]

Exercise in Freedom is based on the primary color triad. I perform an exercise in freedom applying the same color surface with slight tone variations, in order to generate independent and free interactions associated with the way a color is affected both by shape and by its proximity to another.

[ see work ]

Fabian Salazar [ 2014 ]

Though mostly driven by the DIY instructions, my idea for this project was to blend all three sets of instructions. I felt that the second set of instructions allowed me to think through the erasure of color boundaries which allowed me to add green as a primary color. Even though green doesn't belong to the RYB system, it is a part of the four primary colors in psychology. I chose to work individually on each of the compositions using remnants of cotton, linen, felt and synthetic fabric, creating objects which I embroidered and put green ribbon on diagonal form to create a kind of chromatic interference. My immediate association as I visualize the RYB triad is in fact the Venezuelan flag, and I have always felt that its exact symmetrical horizontal color bands communicate a sense of immobility and stagnation, and that stagnation generates in me a kind of irritation or unease. The superposition of color bands is my response to the need to displace hegemonic classifications that maintain their continued relevance through negation of all dissidence.

[ see work ]