The eagle is also a symbol of flight. “I fly like an eagle in granite material that vindicates the indigenism of the nationalist discourse of the new sensibility and the Costa Rican animalistic tradition.” Further he said, “a Nazi eagle in a Creole material synthesizes the conceptual or historical contradiction with which we later based our entire national identity.”
In Los Poderes, Bracci has divided the panels in multiples of 3. Three square panels with 3 identifiable figures: the military with its brown uniform, the politician with his tie and the cleric in a Catholic bishop’s robe. Notice the mechanical repetition and the decomposition of figures into geometric units on the third panel.
In Arguedas’ Fibonacci, two rows of mini paintings are arranged on a board, three on the first row and five on the second row. The term, fibonacci, refers to a sequence of numbers wherein each subsequent number is the sum of the previous two. In the center of the first row, there is a painting of a man with a firearm facing the elephant. The shooting is echoed in the bottom row. If the subsequent number is the sum of the previous two, then a shooter + elephant = the scenes on the bottom row of mini paintings, in this case, the shooting of Kennedy(?) as he parades down the street with Jackie Kennedy (in pink) in an open convertible. (Unfortunately, I didn’t have the leisure to read the caption of this particular work. The deductions I make here regarding the connection of Fibonacci with the fibonacci sequence of numbers are strictly my own.)😅
Jiménez Deredia recounts how as a child he would visit the National Museum of San Jose where he found on display, gigantic stone spheres attributed to the extinct Diquís culture and how these same spheres have inspired him and his works. In Cosmic Vision, there are four vertically aligned spheres that vary in size. Perhaps the meaning of these spheres may be explained through his 2019 sculpture exhibition in San Jose entitled, The Force and Universality of the Sphere. According to the brochure, Jiménez Deredia wants to “convey a world view of the spherical nature of life” and “that a piece of sculpture leads us to become aware that we are stardust in transmutation”.
“Who does not know the ancestors that inhabit it is destined to walk in the dark.” Jiménez Deredia
Zuñiga was born in Costa Rica to parents who were both sculptors and from whom he learned the art of sculpting in his favorite medium, bronze and stone. During his 20s, he left Costa Rica to study at the Escuela de Bellas Artes in Mexico where he lived until his death in 1998. Zúñiga’s 1981 Tres Mujeres Caminando, edition of 4, was sold at Sotheby’s in 2006 for a staggering sum of $1,024,000.
How to get there: Museo de Arte Costarricense (MAC), Calle 42, La Sabana, San Jose. Entrance is free. Closed Mondays. www.mac.go.cr