04
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Horamen
2017
Installation | Photography

⎌ COMMISSIONED PROJECT

 

Horamen traces transformations and mutations in relation to pre-Columbian goldsmiths work. The central element in the work is the crucible, a millenary instrument of clay and graphite that was used by the ancestral cultures of the Ecuadorian territory, and which is still used today as a tool for artisanal foundry.

The use of crucibles to create sculptural constellations that suggest a cartography – that of the original location of the La Tolita-Tumaco culture (600 a.C.– 400 d.C.), a region renown for its formal and technical innovation in metallurgy. Also a political and financial cartography: that of extractivism, which begun more than 500 years ago with the arrival of the Spanish and begins in diverse ways in the present.

Based on a map reached by Banco Central del Ecuador during 70´s, the principal instillation draws a critical cartography, showing with an antique crucibles and metal “connectors”, the main mounds (tolas) destroyed by cultural conditions and economic dispossession faced by Tolita Pampa de Oro Island, during the twentieth century, after the boom of the so-called “huaquerismo” in the region.

⎌ Project part of the program Zarigüeya/Alabado Contemporáneo, Pre-Columbian Art Museum Casa del Alabado, 2017.

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Work
04
_

Horamen
2017
Installation | Photography

⎌ COMMISSIONED PROJECT

 

Horamen traces transformations and mutations in relation to pre-Columbian goldsmiths work. The central element in the work is the crucible, a millenary instrument of clay and graphite that was used by the ancestral cultures of the Ecuadorian territory, and which is still used today as a tool for artisanal foundry.

The use of crucibles to create sculptural constellations that suggest a cartography – that of the original location of the La Tolita-Tumaco culture (600 a.C.– 400 d.C.), a region renown for its formal and technical innovation in metallurgy. Also a political and financial cartography: that of extractivism, which begun more than 500 years ago with the arrival of the Spanish and begins in diverse ways in the present.

Based on a map reached by Banco Central del Ecuador during 70´s, the principal instillation draws a critical cartography, showing with an antique crucibles and metal “connectors”, the main mounds (tolas) destroyed by cultural conditions and economic dispossession faced by Tolita Pampa de Oro Island, during the twentieth century, after the boom of the so-called “huaquerismo” in the region.

⎌ Project part of the program Zarigüeya/Alabado Contemporáneo, Pre-Columbian Art Museum Casa del Alabado, 2017.

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1 Adrian Balseca Horamen El Alabado01. 2 Adrian Balseca Horamen El Alabado02.3 Adrian Balseca Horamen El Alabado03.4 Adrian Balseca Horamen El Alabado04.5 Adrian Balseca Horamen El Alabado05.0 Adrian Balseca Horamen El Alabado06.7 Adrian Balseca Horamen El Alabado07.8 Adrian Balseca Horamen El Alabado08.8 Adrian Balseca Horamen El Alabado09.

01. 02. 03. 04. Horamen, installation view, Pre-Columbian Art Museum Casa del Alabado, Zarigüeya/Alabado Contemporáneo, 2017 — 05. Museo Arqueológico en la Tolita Pampa de Oro, acrylic paint over steel plate, 80 x 50 cm, Pre-Columbian Art Museum Casa del Alabado, Zarigüeya/Alabado Contemporáneo, 2017 — 06. Horamen, installation view at Tolita Pamapa de Oro Island, Esmeraldas, 35mm photo, 20 x 29,7cm, 2017 — 07. Untitled I, 35mm photo, 20cm x 29,27cm. Esmeraldas, 2017 — 08. Horamen (Tola del Pinzón), 35mm photo, 50 x 37,5 cm, 2017 — 09. Horamen (Tola del Pinzón), 35mm photo, 50 x 37,5 cm, 2017 — 09. Horamenphoto  series, 35mm photographs, 50 x 37,5 cm ea, 2017.