Claudia Martínez Garay did research at the International Institute for Social History and the Van Abbemuseum. In a new series of works entitle The Parade she reviews and studies history through visual archives, reducing posters and pamphlets from different origins, both geographical and ideological, to the most essential forms embedded in their composition. The resulting images become layouts in which every ideology could fit. Although they are empty, modernism’s imprint remains. Abstract geometric clusters stand side by side, accumulated and often indistinguishable from each other, mutely waiting for future political application.
Juxtaposed to this, Martínez Garay presents a group of works called The Leftovers (referring to a song by the band Los Prisioneros). In this project she questions the idea of representation of ‘the other’ and self-representation for political purposes. Most of the images used here were sourced from the same posters the abstracted images were made of. Here, however, the result is far from formal and depleted of ambiguous information and meaning.
Docus van der Made - writer
Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands. 2016