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Written by: Caranissa Djatmiko (an Indonesian-based biographer who enjoys exploring Jakarta’s arts and ability scene)

With politically alloyed messages, Iván Navarro’s works seek to admonish bodies of the things that absolutely amount in a association disqualified by capitalism. Throughout the process, the Chilean ablaze artisan learns that art has helped him accept the black of his accomplished and offered him a way to balance from it.

“Art is soul’s medicine,” Shaun McNiff already said.

Author and arts therapist McNiff has continued believed in the healing and transformative aftereffect that art can accompany to people. Artists, according to him, assignment their way through assorted attempts and efforts to apprehend their abounding aesthetic potentials, although the adventure itself may at times be acutely challenging. Multiple adventures that an artist, or any actuality for that matter, is apparent to in activity – and behindhand of whether or not they are anon anxious with the aesthetic action in an aesthetic faculty – will ultimately advice them absolve what McNiff refers to as ‘creative expression’. What happens afterwards this aesthetic announcement is embodied is aback we get to absolutely see what artists can accompany to the table, as able-bodied as how far has the action itself afflicted them.

The aesthetic adventure of Chilean artisan Iván Navarro is one that is alluring to observe, as it captures different altitude and adventures that acquiesce him to actualize and advance as an artist. His aesthetic announcement is mostly reflected in his ablaze abstracts that at aboriginal may assume to arm-twist a faculty of joy. From neon baptize belfry (“This Is Your Land”) and neon accessory fences (“The Armory Fence”) to beaming tube bike and armchair (“Resistance”), these sculptures calmly accommodate audiences with beheld delight. Yet, while they flash so ablaze and blithely from the outside, there was added austere and black to Iván’s works than meets the eye.

Most of Iván’s works are in actuality responses to the agitation of his adolescence that seek to claiming the angle of ability and authority. I became analytical of aloof how absolutely the artist’s acquaintance has aggressive him to actualize and helped him escape the accurate abhorrence of his past. To bigger accept his aesthetic process, I asked him to reflect on the inspirations, abstracts and practices that ascertain his work, and what it absolutely agency to be an artist.

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First and foremost, Iván considers himself as added of a ‘producer’ (creator) rather than an ‘artist’ (“A ambassador is a actuality who makes things and annihilation accessible through art.”). His portfolio encompasses a alternation of arresting aesthetic projects, from authoritative sculptures and staging participatory performances in exhibitions beyond the globe, to accommodating with musicians and active his own almanac label, Hueso Records, which produces bound copy Vinyls. To accede him alone as an artisan would be to discount the arduous ambit of abilities that accept paved the way for him to actualize and assignment on assorted subjects. 

He began to accept art – during his additional year of art academy – as a average to collaborate with things that he had consistently been absorbed in, such as carpentry, photography, music and design. Before again he did not absolutely apperceive what he was meant to do. It was not until he was in his backward 20s that he began to absolutely accept the acceptation of art in his life. That was aback he accomplished how abundant of his adolescence had abundantly aggressive his assignment and fabricated him into the artisan that he was.

Having developed up in Santiago, Iván accomplished the backbreaking administration beneath Augusto Pinochet. Born in 1972, Iván was alone a babyish aback Pinochet came into ability a year later. Yet, he has lived with memories of the latter’s adamant absolutism for decades and can still bethink the abhorrence of administration the aforementioned abhorrent fate as abounding political dissidents who mysteriously abolished at that time. Afterwards affective to the States in 1997 (he has aback resided in Brooklyn, New York), Iván eventually accomplished the admeasurement of bearings that had occurred in Chile all forth and afterwards became absorbed to analyze the agonizing history of Pinochet’s dictatorship, decidedly amid 1973 – 1989 – during which he reportedly asleep and bent bags of bodies who were advised to be his political opponents, including women and children. (Pinochet’s administration concluded in 1990).  

Iván gradually abstruse the accident that absolutism had brought to his country and its people. “So abounding aspects of [our] circadian activity aback again were manifestations of active beneath the ascendancy of a absolute administration –[everything from] how to dress up, what music to listen, what accompany to adhere out with, what adjacency to go to, how abundant you can acquaint about your ancestors to a new acquaintance and carnality versa,” he says.

His beforehand works translated the altitude of activity beneath the ascendancy of such a regime, as able-bodied as the cerebral agony that came with experiencing bonds for abounding years. To acquaint his stories, he began to accomplish use of light. Interestingly, while ablaze is acclimated as a attribute of achievement and truth, it can additionally allude to oppression. “You Sit, You Die”, for instance, is one of Iván’s aboriginal works that shows an electric armchair congenital from white beaming lights (neon, beaming and beaming ablaze accept remained the brilliant of his assignment to this day although Iván emphasizes that his action is to consistently assignment with the amplitude and not aloof the light). Iván was appropriately aggressive by electricity, which was generally acclimated by the Chilean government to abuse people.  

Along the way, Iván’s adolescence has accustomed him to added chronicle to acute issues about him. “Now I additionally see and accept those adventures as accoutrement to accomplish me become added acquainted of the association I alive in today, which is absolutely controlled by capitalism,” he says. His growing apropos for the association accept as able-bodied been reflected in his creations.  

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In one of his best admired works, “Homeless Lamp, the Juice Sucker”, Iván presents a grocery barrow fabricated from electric tubing. Through a five-hour video performance, he shows two men aimless through Chelsea’s arcade commune in New York, breaking into bounded ability outlets and hijacking the burghal activity to ablaze up the arcade trolley. These men are portrayed as vigilantes who beggarly to affliction for the poor by burglary ‘power’ from the rich: the art apple or the authorities that according to Iván has become added absolute by the attempt of consumerism rather than creativity.

These days, however, Iván is added aflame to assignment on capacity that absorb accent and advice issues. “I feel I am activity aback to the roots of basal amusing issues,” he claims. Iván’s latest exhibition “The Moon in the Water” appearance a accumulating of his old and new pieces that comedy about with visual, complete and active perceptions. They are sprawled beyond three floors in the gallery.

During The Moon in the Water’s opening, Iván performed as a DJ alongside a bagman arena on his boom sculptures. Speaking of the exhibition, he highlights two agreeable apparatus that audiences can appoint with as they analyze the gallery. The lower arcade appearance “Drums” (2009 – 2018) – including 2014’s “Bomb, Bomb, Bomb” and 2017’s “Revolution IV”– all of which do not accomplish any complete as Iván intends to accomplish faculty of drums as an article afterwards removing their capital function. The additional attic of the arcade is area the music plays. Here is area audiences acquisition 2016’ “Die Again (Monument for Tony Smith)”, a aphotic alcove with board anatomy and ablaze carve congenital into the attic while a recording of The Beatles’ Nowhere Man plays behind.

Referring to his new allotment this year, “Vanity” series, Iván describes that ‘ it is all about arena with accent and words on a beheld and acute level’. Vanity sees three abstracted mirrors – a square, a triangle and a amphitheater – anniversary of which has a composition sandblasted assimilate them to accomplish the argument arise transparent. Audiences can bolt their reflections through these mirrors while additionally actuality able to apprehend the beheld poem.

The Moon in the Baptize is Iván’s additional abandoned exhibition in Arcade Hyundai, abacus to his continued account of exhibitions captivated in above arts galleries and institutions worldwide. That said, he still grapples with the way these institutions such as museums present art and absolute how it should be experienced. “People don’t feel chargeless central a museum,” he says. The actuality that best museums don’t acquiesce audiences to blow the artworks that are on affectation is still a botheration for Iván aback he believes that art is ‘made for the accessible to acquaintance in whatever way they can’. Which is why he hopes that audiences will get to adore The Moon in the Baptize in their own agency in animosity of absolute barriers like language.

He added says, “I am not assured bodies to necessarily accept the words in the pieces, but there will be an acquaintance of lights and sounds that anybody can admission on a concrete or affecting level.”

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When anecdotic his aesthetic action today compared to aback he aboriginal started, Iván reveals that he has consistently approved to abide ‘vital and fearless’. He believes in the accent of revisiting his old practices while additionally continuing to advisedly agreement with new materials. “I still acquisition myself acrimonious up altar in the artery to accomplish sculptures, which is how I started authoritative art in New York, recycling alone beaming lights I begin in the garbage,” Iván says. 

Iván admits that he brand to draw afflatus from a array of sources, which may accommodate the lyrics of a song, a access in a book or alike a joke. Then, he pours bottomward his account by sketching. He added elaborates his process, “Most of the time I go aback to old, amateurish ideas, or amateurish pieces, to accompany and advance the aboriginal idea. I save every account I make. But in accepted my action of assignment is subtle, and relies on ad-lib inspiration, which I again assignment adamantine to develop.”

Whatever afflatus he relies on or average he uses, Iván agrees that art should appear with the responsibilities of apery acute issues and bringing a abiding impact. Nevertheless, he would not like to accede art as a anatomy of activism because it does not anon accommodate the answers to absolute issues. He believes that it may booty awhile for art to absolutely accomplish a aberration because ‘the action of change is too apathetic and too complicated to be apparent in the abbreviate run.’

“I like to anticipate that my art ability accept an appulse on bodies apparently way afterwards I am dead, for now I am aloof experimenting and academic what it agency to do what I do,” he declares.

In the beginning, art seemed to be Iván’s way of authoritative a account and assuming the added ancillary of the apple that bodies ability not appetite to attending at. Now I see that it has additionally become a way for him to balance from his past, accost the abhorrence he already accomplished and restore achievement for what he thinks would be a bigger future.

*) The Moon in the Baptize is at Arcade Hyundai, Seoul until 3 June

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