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Mariana Bunimov

Page 1 | 2 | Biography

Mariana Bunimov's work exists as psychoanalysis does in the terrain of childhood and that universe populated by inanimated and imaginary beings where the absurd and normal coexist in equal conditions. Dolls, hybrids between humans and toys, little cars, bicycles, doll houses constitute the image bank that feeds the body of work expressed in different media and in the most different support and material, in particular those of waste: paper, pieces of fabric, old cloths, stuffed animals, dippers, washing machine covers, etc. All the elements with which Bunimov makes her work come from her domestic surroundings, her own wardrobe, and the detritus of her daily life.

A mattress made out of all the pages of the artist's school notebooks: class notes, homework, drawings, maps, they all cover the pages that have been meticulously and obsessively detached from the notebooks to be reassembled later into bigger pages- of the dimensions of a single mattress- and glued together until getting the right thickness. The school years have become a bed, another Freudian reference, maybe the couch where we lie down to talk to the analyst about our dreams.The painting titled Ms Lumpuy resumes the anguish of castration and repression but in words of the artist through "pure esthetic joy". The other piece titled Trial and Error is a drawing in a kind of "canvas" made out of the pages of an art history high school book.There, on the pages of Candido Millan's "Universal Art History" we find a drawn image of a monkey stepping into some cardboard boxes, standing up to catch some bananas. Another come back to childhood, but now more primitive, that of the human specie. Maybe also homage to Stanley Kubrick and the famous scene on 2001 Space Odyssey?

What my Father Paid Me is one of the sharpest pieces in the show: a series of bills of a restaurant of a Club in Caracas, glued together to form a big piece of pastel color paper in which we can read the consumption of food and beverages in this restaurant paid by her father. On the paper we see a drawing of an incomplete dollhouse - in which the inexistent ceiling also reveals the presence as a phantom member-, recurrent figure in her drawings. As the "School Bed" this piece takes us to a very personal and autobiographical situation.As with the drawn Roll of Toilet Paper the hybridism and fragmentation as characteristics of a depersonalization of culture are fundamental aspects of the work of the artist. The different "languages" and narratives of the history of art coexist and escape from any intent of classification.Taken from Julieta Gonzales Text La Sra Lumpuy o la Moral del Juguete published by the Museo Alejandro Otero

Av Ppal Lomas de Chuao. Apto 41 Edif Don Carlos. Caracas, Venezuela
10 rue du Chateau d'eau. 75010. Paris, France
South America

T: 58212 9915451
F: 331 42452185

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