艺术家安娜·特雷莎·费尔南德斯（Ana TeresaFernández）的实践在我们时代最重要的问题之间建立了视觉联系。
在她的2021年安装中“在地平线上”at Ocean Beach (and later the Cliff House), she crafted a potent metaphor for how climate change will directly impact communities of color in San Francisco living in low-lying areas of the city with her series of saltwater-filled tubes showing how high the sea will rise. Now, in her first solo show at Catharine Clark Gallery, “At the Edge of Distance,” on view through Sept. 3, that intersectionality continues.
“It’s the broad spectrum — identity politics, social justice, environmental justice — that interests me,” said Fernández, 42, who was born in Mexico but has lived in San Francisco since she came to the city in 2001 to attend the San Francisco Art Institute. “Areas where there are inequities, I definitely tend to touch a lot.”
《纪事报》在8月25日星期四开始在两次即将举行的表演之前与费尔南德斯进行了交谈，这对她的作品做出了回应，并在旧金山艺术家Arleeene Arleene Correa Valencia在Catharine Clark Gallery举行了一场演出。作曲家和双重贝斯手Shinji Eshima与旧金山芭蕾舞团和旧金山歌剧乐团一起演奏，在旧金山舞蹈电影节上演出了一系列短片后，将在画廊中演奏原创乐谱。音乐和电影还将与Alonzo King Lines芭蕾舞团成员Adji Cissoko和Michael Montgomery配对。
演讲是画廊和音乐节的Boxblur表演倡议的一部分，过去曾见过包括Drag Artist的表演者虚假and singerRufus Wainwright存在于空间中。
This conversation has been edited for length and clarity.
问：这个节目中的作品有一个总体主题吗？
A：Borders, which is why it’s called “At the Edge of Distance.” It’s not only the physical borders that we create, but the psychological borders that exist.
I think one of the things that I’m constantly striving for is questioning things we take as given, such as the border. There’s no questioning it. All of a sudden someone says, “This border exists,” and we fail to see the extent to which that border affects us hundreds of miles in opposite directions. As you start uncovering these truths, that’s when we become aware of how this one thing has such a broader reach.
问：您能否解释“线上”和“从内部，没有你的内部”以及“在小说中形成”和“ formado enficción”的视频中的绘画中的薄膜毯的意义？
A：The two paintings happened around when the family separations occurred (at the U.S.-Mexico border). You saw those images of the kids in cages and detention centers, and when you would see them wrapped in these space blankets, it had a very surreal feel to it. They were invented by NASA; they were intended to go into outer space. Here’s this item that the origin of it is for exploration, travel to the unknown, then 50 years later they’re being used for the exact opposite of what they were intended to do. They’re in cages wrapping what we call “illegal aliens” — not undocumented migrants, but “aliens.”
我决定去边境，实际上在晾衣绳上在海滩上绑了大约100个。我走到边界，我只是握住它，它被风悬挂在我的身体上。
问：摇摇欲坠的雕塑“ Espina”如何运作？
A：我喜欢在完全相反的符号和元素之间振荡的符号和元素。一方面，摇滚歌手具有出生和老年的感觉。在生命的开始和生命的尽头，摇滚歌手有一些非常甜蜜的东西。但是，您希望一个梯子，尤其是一个10英尺的梯子坚固。这是完全相反的。除非两个人同时上升，否则您不能上梯子。
问：What was the origin of your two “Matter of Perspective” sculptures?
A：It came about from the statement “it’s a matter of perspective.” If you think about it, where you are standing really dictates what your perspective is. You have these circles that are changing perspective, and they’re reflecting all the perspectives that are available.
问：为什么要使用水泥在“身体和边界”中创建桨？
A：像梯子一样，您认为它们非常有利于运动，无论是向上还是跨越。我经常谈论死亡，因为我认为很明显，移民确实具有巨大的结果或影响。这些桨是由水泥制成的事实 - 它们看起来像墓碑。它们的不同尺寸是为了隐喻地复制一个家庭 - 这是父，母亲和孩子。
问：What can you tell me about the two performances responding to the show?
A：我告诉Shinji我进行视频工作的原因之一是因为我对声音非常吸引人以及我们内心的声音。
当您想到铃铛时，出发和到达的情况很多。当船到达港口时，您会听到铃铛的声音。当有人死亡时，教堂的钟声响起，以登上离开天堂的人。Shinji带来了一个铃铛，将放在画廊的高部分上。我和阿里恩（Arleene）要爬上梯子来敲响铃铛。
Adji和Michael将在这个空间中跳舞，并用自己的身体阐明边界问题。我很高兴看到他们与真二的音乐一起通过这些作品。
“在距离的边缘”：现场音乐和舞蹈表演。晚上8:308月25日，星期四和下午3点8月27日，星期六。$ 50-100。展览上的展览上午10:30至下午5:30星期二至周五，上午11点至下午6点周六。至9月3日。Catharine Clark Gallery，S.F。犹他州街248号cclarkgallery.com