While Jorge Tacla was only an adolescent during the 1973 coup against Chile\u2019s democratically-elected socialist president Salvador Allende, the upheaval left an irrevocable mark on his politics and practice. Titled after a line from a TS Eliot poem, Tacla\u2019s “most expansive presentation to date” examines how enduring truths can be excavated in the aftermath of a destructive incident.<\/p>\n
Structured as eight ‘chapters’, the exhibition traces Tacla\u2019s sustained challenge to the supposed hierarchies of human suffering, false binaries of victim and perpetrator, and the structural violence connecting seemingly disparate events; the paintings reassert the primacy of human memory and perception in navigating the complexities of representation and interpretation. By depicting buildings and landscapes \u2018in negative\u2019, the artist defines form through absence, “creating images that reflect on how events are inscribed within individual and collective consciousness”.<\/p>\n
The exhibition is curated by SAF director Hoor Al Qasimi with Abdulla Aljanahi, Curatorial Assistant at the Foundation. To 7 June.<\/p>\n
Above: Jorge <\/span>Tacla<\/span>, <\/span>La <\/span>Distribucion<\/span> de <\/span>los<\/span> Primarios<\/span> (The Distribution of the Primes) (1<\/span>995)<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"