The Eyes of Gutete, Alfredo Jarre , 1996 Art is before all key for interpretation of reality. I find it useful to get help from an artist to see what the world around us to ask questions and to outline the possible answers. The creative energy of art that is put at the service of present reality with the hope that this helps to make us think and take a stand people. It Is Difficult With this in mind, the retrospective exhibition dedicated to Alfredo Jarre has always been committed to art related to the true reality of our time and its urgency, it is an extraordinary example of this way of being an artist "committed" . What most arouses my interest for this artist is his ability to shake our beliefs through the works. I can not share political views, but I can not deny that the art of Jarre favors a chance to really open dialogue on issues in today's world of globalization and the crisis, particularly hot. Alfredo Jarre, for his architectural training and more for his experience under the Pinochet regime, for which the opposition was forced into exile in New York in the eighties, has always refused to make "art for art's sake", to speak of the concept of art in itself or to focus only on a purely aesthetic, formalistic or staff. Instead, he has always tried to use all these elements help the viewer to understand more about the world we live in, to interact with the social context of today. Deeply critical of the way that the media used to provide information, in his works, be it video, light boxes (literally "light boxes", ie works between the pictorial and photographic), or installations, Jarre is always an invitation to the viewer to experience the world in a manner different from that newspapers, television and internet continuously offer. His works therefore have a strong impact of political and social criticism, dealing with topics such as the tragic genocide in Rwanda or the situation of extreme poverty experienced by miners in Brazil, but at the same time are characterized by their formal beauty, treated in detail . This appears clearly in Geography = War, installation consisting of two works of 1991 that Jarre has six light boxes whose images of human faces reflected in mirrors so as to come to us filtered. The installation space Oberdan represents the new routes of international relations, while in the Hangar Bicocca Jarre projects in cans containing liquid dark blacks, who represent the traffic of toxic waste from rich countries that are disposed of in West Africa, the faces of children forced to play their contact with these poisons. In the wonderful how tragic setup The Eyes of Gutete Emerita of 1996, the viewer is confronted with a million slides depicting the eyes of a woman who has massacred before his eyes saw her husband and two children. This looks a million bears witness to the uniqueness of each and at the same time is a metaphor for the overwhelming number of deaths in the Rwandan genocide. In the work of Jarre can also read references to art history, as in the case of neon light boxes similar to Dan Flavin, regarded as a tutelary deity in this mode of art, however, useful to reflect on the conditions of individual miners referred Brazilians appear portraits. The artist strongly believes in the responsible role that culture can play in our society and this is the proposed Public Questions Questions for the city of Milan. All citizens are asked about the value of the culture today, in order to awaken the commitment of the community because the artist believes that "art is not so much what you do but what you have." Although they may look a bit 'discounted posts by Jarre, strikes me see the reconciliation of art has always been synonymous with the search for beauty but also of particular sensitivity, and context in which we live. A great opportunity then this show, as evidenced also Emergencia: the installation consists of a large pool of black water from which, every 12 minutes, slowly emerging, and then sinking again, the African continent, a huge symbol for Alfredo Jarre presence, too often forgotten by the rest of the world. More precisely this is the cry that comes from all works of Chilean artist on display at the Hangar Bicocca Spazio Oberdan that up to January 2009. Not to be missed. Maria Cecilia
Torchiana
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