Through her art practice Urbano explores existential uncertainty. A condition that arises when fundamental existential components are subject to uncalculated ruptures, are questioned or changed more or less drastically, more or less violently. When life is turned upside down or reality as one once knew it is altered or disputed. In her case this condition is set in motion by that her self- perception as both Swedish and Latin American settled in Sweden, is disputed through the simple question Where are you from? The question, that most often comes up when meeting a new person premises not only that she can impossibly be fromSweden but also that the place/nation/tterritory of her actual origin is singular. The relationship between her experience of being of foreign descent and her self-perception as Swedish or belonging in Sweden is also the force field which herartistic practice inhabits and problematizes.
Through her artistic practice shepursues people who are in these types of situations or whose existential uncertainty she can recognize or desire to understand closer. She take interest in stories about how realities may have been and the starting point is often herself or her own inquiries. In them she finds a possible or plausible narrative rather than a singular reality. Is there such a thing as a singular Truth? Does reality not, rather, consist of several forces at play simultaneously? It may reflect isolated individuals, a group of people or a place.
展览名称Atopotatos指的是柏拉图《斐德罗篇》中的一段话,其中苏格拉底被塑造成了一个atopopos的形象,atopopos一词在希腊语中是最终没有处所,不在适当位置的意思。展览包括两件作品:名为“反身感知”的系列摄影以及名为“收集(未)联结之物,(重)构未收集之物”的视频装置。
厄尔巴诺有这样一个拍摄的习惯,就是她去不同地方旅行,总会用镜头对准都市风景中的琐碎细节,而非重要的地标。她在电脑中制作抽象的空间构造,再用胶片相机拍摄出来,并从这些小细节中收集图案和形状,让它们变成她的调色盘。这一重新拍摄蒙太奇照片的行为是为了给不可能的建筑及图像以生命,就好像她曾在街上看到过这一图像一样。厄尔巴诺的大部分作品都可以有不同的解读和理解。
The title of the exhibition Atopotatos is a reference to a passage in Plato´s Phaedrus where Socrates is characterized as atopopos which in greek means ultimately placeless, out of place. The exhibition consist of two works: a photo series entitled Reflexive Perception and the video installation Collect the (un)connected & (re)connect the uncollected.
Urbano has the habit of always photographing when she travels to different places letting the camera aim at insignificant details in the cityscape instead of at important landmarks. In the small details she collects patterns, forms and shapes that becomes her palette when making an abstract spatial composition in the computer that she later photographs with analogue camera. The act of re-photographing the photomontages is to give the impossible architecture and the images life as if she had seen that image on the street. As the majority of Urbanos work the result is open for different readings and understandings.