PABLO BARRIGA
(Quito, 1949). Vive y trabaja en Quito
Documentos sonoros
En el arte ecuatoriano, Pablo Barriga es pionero de algunas prácticas contemporáneas, como sus acciones callejeras a mediados de los ochenta en Quito. Su obra concede una importancia central a la palabra, buscando explorar sus resonancias en el lenguaje pictórico, performático e instalativo. En su caso, la idea funciona como punto de partida reflexivo y activador del proceso creativo. La experiencia vital nutre un importante segmento de su trabajo, situando la propuesta en la perspectiva de lo cotidiano (barrer, caminar, alimentarse), planteando interrogantes significativas en torno a la actividad del artista en cuanto intelectual y ciudadano.
Sus Documentos sonoros, refieren acciones realizadas por el artista en 1988, 1993, 1995 y 2006. El autor capitaliza su experiencia como narrador (ha publicado varios libros de cuentos) para reemplazar los registros visuales por el testimonio oral, de manera que el relato en primera persona es ahora el documento, redimensionado en una instalación sonora a la que se incorporan algunos elementos sencillos como una escoba o un barco de papel, entre otros objetos asociados con los performances realizados.
(Quito, 1949); he lives and works in Quito
Documentos sonoros [Sound Documents]
A pioneer in a number of contemporary practices in Ecuadorian art, Pablo Barriga is known for, among other things, his street actions in Quito from the mid-eighties. The word is central to his art insofar as an attempt to explore its resonances in the languages of painting, performance, and installation. An idea, in his work, is what sparks reflection and activates the creative process. Vital experience feeds much of his production; his proposal is located in daily life and actions (sweeping, walking, eating) in order to interrogate the task of the artist as intellectual and as citizen.
His Documentos sonoros (Sound Documents) entail actions performed by the artist in 1988, 1993, 1995, and 2006. The artist makes use of his experiences as a writer (he has published several books of short stories) to replace visual registers with oral testimony: first-person account is rendered document, taking on a new dimension in a sound installation that makes use of simple elements like a broom or a paper boat, as well as other objects associated with previous performances.
