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Morpheus, 2009. Installation. Wooden mask. 12 x 97 x 21'5 cm.

Wall Street Breaking, 2009. Colour photography. 76 x 113'5 cm. Edition 1 of 5.

Tricky 09, 2009. Installation. 9 balls and wires. 14 cm. diameter e.o. Edition 1 of 3.

Go kids go, 2008. Installation. 9 balloons with bullets. Variable dimensions. Edition 1 of 3.

Incomfortable handcuffs, 2009. Installation. Handcuffs and newspapers. 68 cm. diameter. Unique edition.

Xie Xie, 2009. Installation. Shoes and wire. 22 cm. diameter. Edition 1 of 3.

00 D.W., 2009. Installation. Bone and flowerpot. Flowerpot: 46 x 23 cm. Plinth: 1'17 x 43 x 43 cm. Unique edition.

Time after time (Florida State version), 2008. Installation. 10 watches. 200 x 4 cm. Unique edition.

Black light cheers, 2008. Light box. 38 x 50'5 cm. Edition 2 of 4.

We are the world, 2009. Instalation. Rug and shoes. 150 x 235 x 28 cm. Edition 1 of 3.

Private dancer, 2009. Installation. Bar, wooden base and dollars. 80 x 80 x 300 cm. Edición 1 de 3.

Jota Castro
Low Cost
January 29 - March 14, 2009

On its second individual show at the Gallery Oliva Arauna the artist Jota Castro goes around one main principle of the modern economy, the Low Cost, with a deep looking at the man and citizen in a critic moment of the economical system.

The exhibition, rude and short, was born through a long  voyage from New York to his country, Perú, going through Spain, anonymous meetings, conversations regarding his ruandes past or about black presidents who could replaced white presidents, strange voices which are talking about defrauded rich men or immigrant with depressive stories.

Morpheus, really is a virility Malian mask which the artist has knocked to turned it into a cayuco. In the African culture this kind of masks shows the arrival of the adult life. With only one gesture Castro changes it meaning to a synonymous of immigration, the obligation that feels a person to abandon his country to try to survive. Sharing the space in the same room Breaking Wall Street is moving us to another place in the world. The end of a myth is close, the sistem which resisted to the critics thanks to its productivity, is becoming to teeter. Since the last November, the structures in which the economics principles are based had showed its real face.

In the next space, the artist uses some small balls “made in china” as a product of the neocapitalist system and the fight for the Low Cost. However the work is covered by barbed wire. It means the slavery that this kind of development has turned it into economical prisons. Tricky: It is a delicate game, a balance between the richness and the lack of freedom. A colourful installation is looking like giving a happiness touch to the exhibition until that the visitor got notice that the thing which keeps the globes in the work Go Kids Go are bullets. The piece is connecting the childhood in some specific areas of the world with the violence that they are used to live each day and that are sinking them in a reality that they will be dragging out through all their lives.

Jota Castro reminds a concrete fact. The next work was born one day in Art Basel Miami, where the artist felt sad about the indifference of his own world, the artistic world, about the savagery of the death penalty that still exists in some leading countries like United States of America. Ten watches represent ten Afro-American prisoners executed in Florida’s jails. The watches we can see in Time after Time have been stopped in the hour when took place every decease.

We are the World is the title of an eighties song full of good feelings and helps Jota Castro to evoke, using a carpet and some shoes, the rest at home. But these symbols that are part of our privacy are used by the artist like a shout from there, where the possible violence of a furtive shoe changes the relation between the powerful ones and the dispossessed.

Continuing with this discourse of reflection, Private Dancer uses an universal symbol: the American dollar; creating a phallic form with the note. The whole world dance with the music played a dance between what we desire and what we don’t have; the uncertainty in a world where we all hope to have some dollars in the brassiere.

Cheers Black Light suggest us a toast to Miss Liberty (emblem of the contemporary system) with an American whisky glass full of oil. The statue of Liberty and the glass like the symbols of the two unique industries in the world and specifically in the United States that have grown.

Uncomfortable handcuffs. With some handcuffs and paper Jota Castro shows a piece about wishes, everyone wishes, and how they ruffle like paper. People lose they soul, they become handcuffed and paralyzed by a world eating the human thing. To fight against this idea, with an enormous confidence in the future the artists shows us in the next work the most valuable, the most important thing in his world: his daughter. Xie Xiè, (thanks in Chinese) represents some child shoes tangled in a ball of barbed wire. The duality of the world hits us in our face, in the words of the artist: “The misery of a woman gave me the most important I have”. 00 DW, Doesn’t Work 00, shows the wish of change and frustration, humanity gets relegated in the poor and outlying areas of the world. Jota Castro shows an ironic thing: men can’t be planted. The artist makes us think about complexity surrounded by the humankind problems in the poorest places in the planet and the problems that nature and taking care of it involve with economics.

Each work of this exhibition shows us a chapter of the travel where the artist invites us to question about the uncertainty of our culture.


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