Page 53 - Nada temas, dice ella

Presented at three extraordinary venues belonging to the Museo Na- cional de Escultura in Valladolid – the Colegio de San Gregorio, the Palacio de Villena and the Casa del Sol – the exhibition unfolds in other public spaces, playing with a contemporary methodology that has expanded the limits of the museum, making it tran- scend its function as a sacred place designed to preserve our heritage. By tracing intertextual dialogues be- tween works of the past and present, between different moments, genres and media, Fear Nothing, She Says promotes surprising symbioses, het- erogeneous dynamics, dialectics that are not grounded in the opposition between ancient and contemporary but that flow in intermediate spaces of the sphere of TRA: transgenera- tional, transhistorical, transgender, transcultural, transconfessional, transdisciplinary ...
An exhibition is a temporal con- struction, an essay written in space, a territory to be crossed. Curatorial dis- course is based on the creation of this itinerary, on the modulation of the rhythms and cadences that strengthen the existential and political meaning of the works. Fear Nothing, She Says proposes a voyage from the certainty of her own perceptions and beliefs
to interaction with other codes and languages. To expand perception is to promote life. Art, to quote Nietzsche, is a stimulant for life.
Inspired by humility, by the courage and the desire to transcend the established, the show suggests conjunctions and disjunctions between the known and what is still to come, seeking subtle connections or direct and allegorical relations both with the spirit that encouraged Saint Teresa and with present forms of spiritual- ity, joy and action. Indeed, it dissolves barriers, tracing paths of coincidence and coexistence, revealing the confi- dence of creators to explore a range
of languages – from performance art, drawing, painting and sculpture to film, video and artistic interventions
in public space – with the conviction that words and images are means
of transforming not only the soul,
but also the world around us. Saint Teresa declared that the encounter with the beloved awakens the soul, which is thus transformed: ‘That view is carved in the soul.’12 The saint there- by anticipated the extended definition of sculpture defended by Joseph Beuys, who held that the transformation of awareness through words or images
is a form of sculpture, that the plasti- city of our thoughts and emotions is already a form of expanded sculpture.
Meditation consists not so much in thinking a lot as in ‘loving a lot,’ declared Teresa. Working to create a beautiful exhibition and finding a meaningful title for it, coordinat- ing institutional desires and efforts, enjoying the trust and confidence
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