Wikipedia

Marta María Pérez Bravo

Marta María Pérez Bravo (an haife ta a shekara ta 1959) 'yar wasan Cuba ce wacce aka fi sani da hoton ta na bakar fata da fari, wanda sau da yawa takan yi amfani da nata nata a matsayin babban jigo-abu don bayyana ta. imani na kansa da - da kuma aiwatar da - addinan Afro-Cuba, musamman Santeria da Palo Monte. Yawan cin fasahar ta ana sanar da ita ta hanyar wannan al'ada, kuma tana tattare da jigogi na al'ada, uwa da mata, wanda aka bayyana ta hanyar salo mai salo na jikin ta, wanda aka sanya dangane da kai tsaye da muhimman abubuwa a cikin hotu nan ta.

Ilimi

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Pérez Bravo ya fara karatun zane-zane a Havana a San Alejandro Academy of Fine Arts (1979) da Instituto Superior de Arte (1984). Duk da cewa ta yi karatun zane-zane yayin da ta ke Instituto Superior de Arte, ta fara sha'awar daukar hoto yayin da take aiki a babban karatun ta a karshen, kuma ta fara amfani da wannan matsakaici tun lokacin. Ta zauna a Havana har zuwa 1995 lokacin da ta koma Monterrey, Mexico, tare da dangin ta, inda a halin yanzu take zaune kuma tana aiki. Pérez Bravo ta kasan ce wani bangare na karni na masu fasaha na Cuban da aka haifa nan da nan bayan juyin juya halin Cuban kuma tana daya daga cikin wadan da suka yi hijira bayan rushewar lokaci na musamman a karshen 1980s. [1]

Aiki

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Ayyukan Pérez Bravo yawanci ana shirya su, ƙananan hotuna masu launin baki da fari inda take amfani da jikinta a matsayin jirgin ruwa don bayyana hangen nesa na al'adu da addini. Tana da alaka sosai da asalin al'adunta, musamman imanin addini na Afro-Caribbean Santería. Santería sun gaskata cewa allakanta yana wanzuwa a cikin kowane abu, har ma a cikin abubuwan yau da kullum. Wadannan abubuwan galibi “baye-bayen zaɓe ne da sauran abubuwan shahararru” na al'adun Cuban ta. Wannan shine dalilin da ya sa Pérez Bravo ta zabi irin waɗannan abubuwan da aka sani kamar igiya, rassan, da sassan dabbobi don bayyana yanayin Allah na kowane abu. Hotunan nata suna ƙoƙarin bayyana nata hanyar ruhaniya, suna tattara bayanan ci gabanta ta hanyar hotuna masu kama da mafarki. Ko da yake hanyarta ta ruhaniya da kanta ba ta da tushe, an ba mu ɗan hango abubuwan da ta samu na allahntaka. Tana yin hakan ne da farko ta hanyar canza jikinta zuwa wani bagadi ko hadaya, ko abin hawa don ma'ana mai tsarki. Tana ba da fifiko kan bincike da aiwatar da ikon ruhaniya da na zahiri a cikin hoton kanta na Perez Bravo, wanda tare "gyara" jikin mace da ra'ayi na mace. [2] Hotunan nata sau da yawa suna dogara ne a cikin abubuwan da ta samu ta rayuwa ta ibada da mace, musamman ma bayyanar da haihuwa, sha'awa da mutuwa, wanda ta bayyana ta hanyar magudi da gabatar da jikinta. [3]

Misali, babban bangare na aikin ta kuma ya kunshi hotu nan kai da aka yi niyya don “rasa” uwa. Kalubalen da ta fuskanta a cikin haihuwa sun kasan ce abin sha'awa ga jerin shirye-shiryenta na Para concebir ( Don yin ciki ) (1985) da Tunawa da Babynmu (1990). Wadan nan jerin yunkurin bata mahaifa ta hanyar nuna jikinta ta hanyoyin da aka yi niyya don kalubalan tar bautar kyawun sha'awa. Hanya daya da ta yi amfani da ita don cim ma wannan ita ce ta siffanta jikinta a yanayin tashin hankali. Ayyu kan ta na Santeria, wanda ke jaddada duality, yana ba da damar wanzuwar wannan tashin hankali da ruhi a cikin hoto ɗaya, yayin da kuma ya canza jikin Pérez Bravo zuwa wuri mai tsarki a ciki da kanta. [4] Hotu nan nata sun gano abin da ake nufi da zama mace sabanin ra'ayin magabata.

Ayyu kan Pérez Bravo yana da ma'ana mai mahimman ci na sirri, yana nunawa kamar yadda yake aiwatar da rayuwar ta da imani, amma kuma an fassara shi da cewa yana da mahimman ci. Hoton ta, don yawan amfani da alamomin addini na Afro-Caribbean, ana kallonta a matsayin zanga-zangar adawa da ƙetare ko kirkira al'adun Afro-Cuba, wanda aka yi ta hanyar binciken mai zane game da asalin ta a cikin nunin abubuwan da ta samu a zahiri na launin fata, jinsi, da kabilan ci. [1] Binci ken da Peréz Bravo ta yi na ainihi tana kaluba lantar ra'ayoyin mulkin mallaka, wariyar launin fata, da ikon sarauta yayin da take kokarin hada al'amuran zaman takewa, siyasa, al'adu, tarihi, da shaharar run abubu wan abubuwan da suka faru a cikin hoton ta. [4] [3]

An baje kolin ayyu kan Bravo a duk faɗin duniya ciki har da Cuba a IV Havana Bienal, V Istanbul Biennial a Turkiyya da Kwangju Biennale a Koriya ta Kudu. Har ila yau, an haɗa aikin ta a cikin nune-nunen kayan tarihi da yawa irin su San Francisco Museum of Modern Art, Museo del Barrio, New York, Museum of Contemporary Art, Brisbane, Australia, Museum Fridericianum, Kassel, Jamus, Muesarnok Museum, Budapest, Hungary, Alejandro Otero Museum of Visual Arts, Caracas, Venezuela, Winnipeg Art Gallery da National Art Gallery a Ottawa, Canada, Menil Collection a Houston, Louisiana Museum for Moderne Kunst, Copenhagen, Denmark, Museum of Fine Arts, Houston, Texas, Wichita Art Museum, Kansas, Museum of Fine Arts, Santa Fe, New Mexico, Mead Museum of Art, Amherst, Massachusetts, Miami Art Museum, Florida, da Los Angeles County Museum of Art, Kendall Art Center, Miami, Florida, da kuma Samuel P Harn Museum of Art, Jami'ar Florida, Gainesville, Florida. [5]

Nassoshi

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  1. ↑ 1.0 1.1 Martín-Sevillano, Ana Belén. "Crisscrossing Gender, Ethnicity, and Race: African Religious Legacy in Cuban Contemporary Women's Art." Cuban Studies 42 (2011): 136-54.
  2. ↑ Amador Gómez-Quintero, Raysa Elena, and Mireya Pérez Bustillo. 2002. The female body: perspectives of Latin American artists. Westport, Conn: Greenwood Press.
  3. ↑ 3.0 3.1 Tejo, Carlos. “Marta María Pérez Bravo: El Culto a Lo Cotidiano.” Bellas Artes 3 (2005): 39-62.
  4. ↑ 4.0 4.1 Schultz, Stacy E. "Latina identity: reconciling ritual, culture, and belonging." Woman's Art Journal, vol. 29, no. 1 (2008): 13-20.
  5. ↑ "Marta Maria Pérez Bravo", Fraser Gallery. Retrieved 11 April 2013.

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