MIRIAM  DURANGO. Santa Cruz de Tenerife Canary Islands-Spain.  B.A. in Fine Arts, Madrid. Degree in International Cultural Politics, Barcelona University. From the eighties lives and works in several countries.  Actually lives in Tenerife. From 2002 /2014 she was the director of an historical Cultural Society, the Fine Art Circle of Tenerife, and as independent curator organized numerous exhibitions national and internationally  related to the new medias.  Lectures like “Main electronic exhibition curated by Miriam Durango”, California University  Digital Media Department  (2009). Member of the jury for the Canary Prizes of Fine Art and Interpretation (2003). Member of the  Council Consultant Oscar Domínguez Institut of Art and Contemporary Culture (2000). In Florence Biennale 2017 she received the First Prize “Lorenzo il Magnifico” in Digital Art.   Related to her personal work, from the 90th and with the incorporation of new technologies to the art world, her work runs parallel to those new disciplines. Video, multimedia installations, digital photograph, sound interactive. She has exhibited individually and collectively in countries such Germany, France, Italy, Holland, Scotland, Singapur and Spain. Technology allows us to glimpse a world beyond our physical constraints.   Over the course of years I captured with my video camera hundred of films to catch afterwards frame by frame, as minimum times that compose the entire reality, combining them together into a panorama of grate complexity and detail, repetition, montage and manipulation of space / time. Time skips imperceptibly from one frame to another to be enshrined, frozen in the image definitely trapped, vestige of what was, eternal.    At the speed with which we lean out of that window called “the world that surrounds us”, we are hardly aware of what is happening around us and we only realize the limited way of our physical senses,  when technology traps a frozen moment of time in a unique sequence.  Hundreds of images are made during a methodological process of deep-looking through this mediated lent eye. Hundreds of frames crimped manually to achieve an image in most cases physically impossible. That indiscreet camera that scrutinizes a sum of moments to conform a paralyzed present, discovering a sometimes deformed reality of which we had no conscience.   Not devoid of utopia these spaces invite the observer to his exploration to understand his intimate reality.

Since Piranesi reflected in his engraves of  Rome an embellished or distorted at least  of the ruins, the vision of them became a way to show the irreducible beauty of the buildings but also the relentless and tenacious intervention of time.   In this sense, the ruins exercised, since then, a persistent and subtle attraction for later artists, artists who discovered the ruins possibly not from real observation but contemplation of complex and mysterious engravings known as Vedute.  Records found human footprints since the time of Neron in his Domus Aurea made in the 16th century by flemish or fiamminghi, name given by the Italian to the artists of the north (Flemish) who traveled to Italy to "learn".   And even Lord Byron in the 19th century left its mark on the temple of Poseidon in Cape Sounion of Greece.

With surgical neatness, I show traces of the past through representative ruins, ancient personages and gods, splendid palaces, to the unstoppable effect of painted streets, scrawl which only purpose it’s a dirty trace, and that I reflect or invent for each of them, subtracting them from their environment, cutting their profiles and using them as disturbing canvas on which to write or paint the withdrawn images from the most turbulent streets.   The look on the streets of our century, covered streets message or a new aesthetic, in both ways: as painted street (dirty trace) or graffiti (now urban art),  they still represent a substrate over the almost archaeological  obsession. This walls covered as second skin with this ephemeral art, almost punishable already, offered in the eighties, the convulsive beauty of the street. Artists like Basquiat or Keith Haring, would not be understandable without that process to the urban archeology that permeates much of our culture. A process that becomes burning actuality with personalities as mysterious as Banksy.

These images become disturbing signs, in an act that mixes attraction for history and passion for the future. But the question would be: would we find in these interventions a beautiful mutation?  If sometime in the future someone look up these images, could understand the turbulent society in which we live. Find the lost beauty of our historical memory and invasive graffiti image. Find in a strange mix, both sinister and attractive, the legacy of classicism and the urban image of the streets. In a turbulent and disturbing world that we live, where some classical ruins have been destroyed by fanaticism or wars, these pieces would be a call to beauty, to memory, to the care of our heritage without ceasing to look into the future.