LIVIA MARINLivia Marin uses everyday objects to explore the nature of how we relate to material objects and the relationships we develop with them in an age dominated by mass production, standardized and circulated globally. The artist used fragments of teapot sets, which were industrially produced and featured machine-printed serial decorative patterns, turning them into pieces. unique, precious crafts. In Broken Things, teacups, bowls, vases, jars seem to be paradoxically broken but still complete: therefore what is contained and what is contained form a kind. the third unidentified object hovers between formation and dissolution. It is the decorative patterns of the objects, both in and out of their common place, that maintain the ambiguity of these objects. One such example is the repeating pattern used by the artist, Willow Pattern, which can be found on many commercially produced ceramics. The origin of this decorative motif, reminiscent of ancient Chinese blue-and-white pottery, actually dates back to Britain during the Industrial Revolution. This pattern was invented by an Englishman and in previous times, blue and white ceramics were associated with the aristocracy, but now this pattern has been overused, has become a symbol. Statues are printed on the bulk of ceramics found in any department store. Another fundamental theme for Livia Marin is the tense moment between wanting to keep or discard a broken object. In “From the Series Broken Things,” the photographs of the subjects seem incomplete. The fragments of the photograph, torn and patiently stitched together with gold thread, are reminiscent of the Japanese technique of restoring and embellishing objects. The fractures represent death and loss and they are filled by repairing and rescuing the object. Both the act of photographing and the act of "running away", where gold restores lost or lost things, represent memory metaphorically. In another series, "Nature Morte", the artist uses certain codes of still life paintings of the seventeenth century. She reinterprets this art genre by exploring the hierarchy of objects, analyzing their spatial, social and political order, based on the personal value they have acquired over time. past time. In a world accustomed to compulsive buying and selling of money, these works are a powerful reminder that no part of material culture can escape the ideological connotations of value. .Livia Marin (Santiago de Chile, 1973) lives and works in London. Her work is characterized by the appropriation of mass-produced objects and was initially informed by the social and political context of Chile in the 1990s, which transitioned from seventeen years of dictatorship under Pinochet's brutal regime, to a democracy dominated by an ultra-reformed neo-liberal economy, not least authoritarian and autocratic. What was followed by a huge wave of privatization and liberalization destroyed the country's existing local artisans while importing standardized goods from the global market. The artist thinks about how how we relate to objects in a materialist society influenced by the culture of globalization and about how our identities are defined through materialistic tags derived from consumerism. The close, everyday bonds that can develop between the owner and the object allow it to enter a new stage of meaning. From consumer to consumer, a concept that reverses alienation caused by consumerism, poses a threat to market manipulation. Marin's work has been shown at home country Chile as well as internationally. Recent exhibitions include: Oro verde, Galeria Patricia Ready, Santiago, Chile, 2018-2019; Concealment, Jaggedart, London, 2018; Metalmorfosis, Museo Nacional de Bellas Artes, Santiago, Chile, 2018; ASSORTMENT (XII), Jaggedart, London, 2017; Color grading (XI), Jaggedart, London, 2017; Thread, Jaggedart, London, 2017; Liquid Art System, Miami Context Art, Miami, 2016; White Room-Liquid Art System, Art New York, 2016; Faltas / Faults, Galería Patricia Ready, Santiago, Chile, 2016; Marca no register, Espacio Odeon, Bogotá, Colombia, 2013; Sutura, Galeria Eduardo Fernandes, Sao Paulo, Brazil, 2011; Broken Things, House of Propellers, London, UK, 2009; Nomadic model, Eagle Gallery, London; El lugar de lo invisible, Sala Gasco, Santiago, Chile; Nature Morte, House of propellers, London; Manuf®actured: The Conspicuous Variation of Everyday Objects, Museum of Contemporary Crafts, Portland, Oregon, USA; The tectonic shift: Contemporary Art from Chile, Saatchi Gallery, London; Poetics of the Handmade, Museum of Contemporary Art (MOCA), Los Angeles, USA; Maximinimalist, Institute of Visual Arts
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