Breach Miami

SPLITS AND SLIPS: THE DISOBEDIENT BANANA

IVANA DE VIVANCO SOLO EXHIBITION

FEB 20 – MARCH 19, 2022

BREACH GALLERY IS PROUD TO PRESENT, “SPLITS AND SLIPS: THE DISOBEDIENT BANANA”, A SOLO EXHIBITION FROM CONTEMPORARY ARTIST IVANA DE VIVANCO. PRESENTING NEW PAINTINGS AND SCULPTURE, DE VIVANCO EXPLORES THE COMPLEX HISTORY OF THE TITULAR FRUIT. ICONIC IN POP CULTURE AND AMERICAN CASUAL CUISINE, THE BANANA HAS ALSO INHERITED FROM SYSTEMS OF EXPLOITATION AND VIOLENCE. GRAPPLING WITH THE MULTI-DIMENSIONAL ASPECTS OF THE BANANA AS A SYMBOL OF AT ONCE HUMOR/DECADENCE AND SOCIETAL FRAGMENTATION, DE VIVANCO SEEKS TO REPRESENT THE NOTION OF HOPE IN AN OTHERWISE UNKIND REALITY.

 

EXCERPT FROM CLAIRE BREUKEL’S, “IVANA DE VIVANCO RHYMES FOR REASON”

IVANA DE VIVANCO RECOGNIZES THAT THE SIMPLE BANANA HAS THE CAPACITY TO WREAK HAVOC. IRONICALLY, WITHIN GLOBAL TRADE SYSTEMS, IT ALREADY HAS. A COMMODITY WITH MORE THAN 100 BILLION CONSUMED ANNUALLY ACROSS THE GLOBE, THIS PHALLIC FRUIT ON THE ONE HAND OFFERS AFFORDABLE NUTRITION, AND ON THE OTHER HAS BEEN AT THE HEART OF UNJUST LABOR PRACTICES AND FURTHER DISENFRANCHISEMENT WITHIN “DEVELOPING” COUNTRIES. IN HER UNITED STATES DEBUT SOLO EXHIBITION AT FABIEN CASTANIER’S BREACH GALLERY IN MIAMI, DE VIVANCO AFFORDS THE HUMBLE BANANA A ROBIN HOOD PERSONA, AND ACTIVATES THE FRUIT AS A TOOL FOR SWEET REVENGE. TITLED “SPLITS AND SLIPS, THE DISOBEDIENT BANANA”, THE EXHIBITION ALLUDES TO AMERICA’S MORE SUPERFICIAL RELATIONSHIP WITH BANANAS; AS A DELECTABLE AND KINKY DESSERT; AS THE PROTAGONIST CAUSING A SLIP IN CHAPLIN-ESQUE SLAPSTICK COMEDY; AND PERHAPS EVEN AS A DUCT-TAPED ART EDITION—BUT IT ALSO SUGGESTS A POSSIBILITY OF A SPLIT WORLD THAT IS DISRUPTED BY SLIPPING PRECONCEIVED NORMS. A WORLD WHERE A DISOBEDIENT BANANA IS AN ACTIVIST.

 

BORN IN PORTUGAL, DE VIVANCO GREW UP BETWEEN ECUADOR, PERU, CHILE, AND FOR THE PAST DECADE HAS LIVED AND WORKED IN GERMANY. CONGRUENTLY, HER CREATIVE PRACTICE REFLECTS THIS DIVERGENT BACKGROUND AMALGAMATING CULTURALLY ECLECTIC REFERENCES AND STYLISTIC APPROACHES, ALONG WITH CONFLATED LOGICS OF TIME AND SPACE. THE RESULT IS PAINTINGS, DRAWINGS AND SCULPTURES THAT REFLECT HISTORICAL AND MYTHOLOGICAL RESEARCH, AN IMMERSION INTO THE HISTORY OF PAINTING INSPIRED BY HER LOVE FOR FLEMISH MASTERS SPANNING THE 15TH TO 17TH CENTURIES, AS WELL AS A ROMANTICISM EVOCATIVE OF LATIN AMERICAN BAROQUE. ADEPT AT EVOKING DRAMA, DE VIVANCO, IN ADDITION TO THESE INFLUENCES, ADOPTS PARADIGMS FROM LITERATURE AND THEATER INCLUDING CHILDREN’S PUPPET SHOWS TO CONSTRUCT HER VISUAL STORIES. THE PICTURE PLANE OF “EVERYDAY BANANAS” IS CONNOTED BY A FLAT RECTANGLE CANVAS REMINISCENT OF A PUPPET SHOW STAGE. THE PAINTING IS DIVIDED BETWEEN A PINK WORLD BELOW ENCASING THREE BANANAS, AND A PUPPET FIGURE WITH DETACHED HEAD AND ARMS SHADOWED ON A BLUE BACKDROP ABOVE. AS IF IN MOTION, THE PUPPET ENTERS THE SCENE WITH RED HANDS OPEN IN EXCLAMATION HOVERING OVER THE BANANAS BELOW. WHAT WOULD THE FIGURE BE SAYING?…

 

FROM THE ARTIST

WHEN CREATING THE BODY OF WORK THAT I WILL EXHIBIT IN MIAMI I HAVE HAD THESE TWO CONCEPTS OF SPLIT AND SLIP VERY PRESENT, AS IF THEY WERE THE TWO SIDES OF THE SAME COIN: ON THE ONE HAND THE VIOLENCE OF HISTORY AND THE FRAGMENTATION AND SUFFERING OF THE BODY (BY THE WAY ALL OF THEM IMPOSSIBLE TO REPRESENT JUSTLY) AND, ON THE OTHER HAND, THE HOPE, THE DISTANCE THAT IRONY OFFERS AND THE IMAGINATION OF OTHER POSSIBLE WORLDS WHERE OUR SPLIT SOCIETY COMES TO ITS FINAL SLIP AND CHANGES FOR GOOD. THE SCEPTIC PUBLIC MIGHT THINK THIS IS ALL NAÏVE, BUT IF ART IS NOT THERE TO IMAGINE OTHER FORMS OF BEING IN THE WORLD, THERE’S NO BRIGHT FUTURE POSSIBLE AHEAD OF US.