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著作権 この作品は、現在も著作権の保護対象です。dhara rivera は 1952 に生まれ、没年は記録されていません。著作権は、作者の死後 70 年間存続します。この画像は教育目的の参照用として掲載されており、権利は権利者に帰属します。
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Palingenesis — dhara rivera
背景色：dhara riveraの生涯 (1952–?) ▲ 本作品、2014
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Palingenesis — dhara rivera
Palingenesis was created after an invitation by the Comité Casa Klumb to a group of artists who work with different mediums. The basic idea was to create an artwork based on reflections about the house and its surroundings, which were developed by the renowned architect, Henry Klumb, in the heart of Río Piedras between 1949 and 1986. The house and the three acres of land that surround it – today, in a state of disrepair – are a repository of historical periods cohabiting in silence, right in the middle of the city. Palingenesis was conceived based on the interpretation given to this term in alchemy. According to this philosophical practice, the ashes of incinerated plants keep the memory of their original form and, through a series of particular processes, can regain it. The installation is composed of leaves gathered in areas adjacent to Casa Klumb (periphery of the house, inside border and exterior border of its land). These leaves were placed between two glass sheets that were then heated on high temperatures. The ashes of the leaves, preserved between the molten sheets of glass, keep their original shape. If the sheets were to be separated, the leaves would disintegrate immediately. As part of its concept, the artwork uses the exact measurements of Casa Klumb’s “tormentera” (storm shelter), built in the basement of the house, which the architect considered “the seed” of the structure. This second showing of Palingenesis takes it away from its place of origin, and following the poetic line that sustains it, opens itself to new interpretations and reflections about the nature of memory; the will to be meaningful; the pleasure of storytelling; the gift of reenactment. Installation structure design: Arch. Enrique Vivoni Farage (Comitée Casa Klumb) and Dhara Rivera / Construction of the structure: Víctor Lugo
アーティストと美術館
生誕地 Vega Baja, Puerto Rico
Dhara Rivera, born in Vega Baja, Puerto Rico, in 1952, is a multidisciplinary artist whose work resonates deeply with the urgent concerns of our time—the complex relationship between humanity and the natural world. Her artistic journey began with a foundation in liberal arts at the University of Puerto Rico, followed by formal training in sculpture at Pratt Institute in New York. These early experiences laid the groundwork for an approach that seamlessly blends conceptual rigor with material exploration. A pivotal moment came with her participation in the Whitney Museum Program for Young Artists in 1981, and further studies at Hunter College solidified her commitment to a path where art serves as both inquiry and intervention. Rivera’s artistic voice isn't confined to a single medium; she navigates sculpture, installation, drawing, and ceramics with equal fluency, each chosen strategically to best convey the nuances of her ecological vision.
Rivera’s work emerged from a sustained engagement with the landscapes of Puerto Rico, but quickly expanded to encompass broader environmental issues. Her artistic practice is characterized by a profound sensitivity to place—not merely as a physical location, but as a repository of history, memory, and social dynamics. Early works often focused on the island's waterways, recognizing water not just as a vital resource, but as a central element in Puerto Rico’s cultural identity and colonial past. This focus evolved into explorations of the impact of industrialization and globalization on fragile ecosystems. She doesn’t present environmental degradation as an abstract problem; instead, she interweaves social aspects and historical context, revealing the human stories embedded within ecological crises. Her commitment to understanding these interconnected layers is evident in projects like ‘maquinolandera’, a powerful commentary on the legacy of industrial waste and its impact on local communities.
Rivera’s artistic methodology is as diverse as her chosen mediums. She often employs found objects, transforming discarded materials into evocative sculptures that speak to themes of consumption, decay, and renewal. Her installations are frequently site-specific, engaging directly with the surrounding environment and inviting viewers to contemplate their own relationship to the natural world. The use of ceramics allows for a tactile exploration of earth’s elements, while her drawings serve as intimate records of observation and reflection. A key element in Rivera's work is the incorporation of ‘performative actions’, such as Homenaje al Pterocarpus, A la miri, meri, mir and Cosiendo agua. These interventions are not simply gestures; they represent a deliberate attempt to disrupt conventional modes of perception and foster dialogue about environmental stewardship. She skillfully combines elements to produce hybrids that point to multiple simultaneous references, creating works that are both intellectually stimulating and emotionally resonant.
Dhara Rivera’s contributions have been widely recognized within the art world and beyond. She received a grant from the Joan Mitchell Foundation in 2000, enabling her to further develop her artistic practice. Her work has been featured in international biennials, including the Havana Biennial, and at ARCO in Spain, bringing her ecological concerns to a global audience. Beyond her individual achievements, Rivera is also dedicated to education, having served as an adjunct professor at the School of Visual Arts and Design in San Juan, Puerto Rico. Her influence extends beyond the studio, actively participating in the ecoartnetwork, fostering collaboration and raising awareness about environmental issues within the artistic community.
Dhara Rivera's art is not merely a reflection of our times; it is an active attempt to shape them. Her work challenges us to reconsider our relationship with nature, moving beyond anthropocentric perspectives and embracing a more holistic understanding of the interconnectedness of all living things. Projects like ‘Palingenesis’, with its minimalist wooden structures evoking containment and observation, invite contemplation on themes of regeneration and resilience. Rivera’s enduring legacy lies in her ability to seamlessly blend artistic innovation with ecological activism, creating works that are both aesthetically compelling and profoundly meaningful. Her art serves as a powerful reminder that the pursuit of beauty and the preservation of our planet are not mutually exclusive goals, but rather essential components of a more sustainable future.
展示中： San Juan, United States of America
In the vibrant, rhythmic heart of Santurce, San Juan, there exists a profound architectural dialogue between the past and the present. The
Museo de Arte Contemporáneo de Puerto Rico
, affectionately known as MAC, is housed within the historic Rafael M. Labra Building, a structure that breathes with the stately grace of Georgian architecture. Originally erected in 1916 as a public school by architect Adrian C. Finlayson, the building’s disciplined lines and classical proportions provide a breathtaking stage for the avant-garde. To walk through its doors is to experience a striking juxtaposition; one moves through a space defined by early 20th-century elegance to encounter the raw, experimental energy of contemporary Caribbean expression. This seamless blend of historical preservation and modern innovation makes the museum not merely a gallery, but a living monument to Puerto Rico's evolving cultural identity.
The soul of the MAC lies in its curated whispers of identity, history, and social dialogue. The collection serves as a vital repository for works that span from mid-century masterpieces to the most daring installations of the current era. For the discerning collector or art enthusiast, the museum offers an intimate encounter with the titans of Puerto Rican and Latin American art. One might find themselves captivated by the ethereal landscapes and profound portraits of
Myrna Báez
, or moved by the intricate, culturally resonant sculptures of
Daniel Lind-Ramos
. The museum’s ability to weave together diverse media—ranging from photography and video to monumental installations—ensures that every visit is a multi-sensory journey through the complexities of the Caribbean experience.
Beyond its permanent treasures, the MAC is a dynamic engine of cultural evolution, frequently hosting exhibitions that challenge the boundaries of perception. The museum’s commitment to experimentalism is perhaps most vividly captured in works like Ramón Luis Rivera Cruz’s
“Suoideos Taurus Ovibus,”
a haunting watercolor that explores biological surrealism with surgical precision. Even when the museum reaches back into the Baroque tradition, as seen in the dramatic chiaroscuro of Juan de Valdés Leal’s
“San Juan Bautista 1,”
it does so to provide context for the contemporary struggles and triumphs displayed in its modern wings. This curated tension between light and shadow, tradition and rebellion, makes the MAC an essential destination for interior designers seeking inspiration and art lovers searching for depth.
Situated just a short stroll from the lively pulse of La Placita de Santurce, the museum functions as a bridge between the local community and the global art stage. It is a place where the academic rigor of art history meets the spontaneous energy of urban life. Through its dedicated educational programs and workshops, the MAC ensures that the dialogue of contemporary art remains accessible, fostering a new generation of creators and appreciators. For those who seek beauty that is both intellectually stimulating and emotionally resonant, the Museo de Arte Contemporáneo stands as a beacon—a testament to the enduring power of creativity to transform historical spaces into vessels for the future.
artsdot.com/ja/art/download/dhara-rivera-palingenesis-D6A3U3-en/
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Palingenesis — dhara rivera
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