Bruna Truffa: Between the global and the domestic


Opening up to the possibility that free time is no longer seen as something harmful is what Bruna Truffa (1963, Arica) proposes, making it tangible through a creative process that brings with it a series of conceptual ruptures where the limits between globalization and domesticity. A fact that is testified in the exhibition “Sellos de ocio”, located in two rooms, of the MAVI UC until March 2023.

Starting with the fictitious scenario he has set up around China (room 1), and above all in a Wuhan between imaginary and presumed or, if you prefer, immediate. Thus establishing a field of action in which to recover the effects of the pandemic, which, above the circumstances of the confinement, operates as a cause and effect to mint these stamps, which, above their oriental roots (both Chinese and Japanese) , underline the recognition of copying and anonymity, as part of a culture strangely opposed to our way of seeing art, where the play of tradition (the permanent) against the transient (the copy) and vice versa, are typical of a action where nothing is as it seems, or vice versa, since the consistency of reality is so strong, that in order not to crush you, you have to invent another parallel that allows you to experiment in a playful and collective way.

As the artist herself says, “this show works like a laboratory, I always work with teams, which is crucial for me. It implies letting go of the hands, delivering the work to the process in such a way as to question the very theme of authorship”.

In this sense, the paradox can be understood as an unprecedented act of relevance capable of replacing authorship with anonymity, leaving the creative process in many hands. An attribution that is also evident in works where the impact of the collective challenges the Western model, stripping it of its individuality, in favor of an artistic exercise that questions paradigms, charting a different route.

Furthermore, we must not forget that we are witnessing a divergent reality, with forced hygienic rituals, where the flat renunciation of our bare freedoms, trivializations and domesticity has been added to a routine in which even medicines have begun to proliferate, which here acquire a manifest prominence, the one that, apart from sarcasm, refers to a substantial and hopeful desire for recovery. A course in which confrontation and confrontation mix, and where the fatalistic nuance converges with the allegorical one, plus a hidden and ironic vision of this globalized and saturated society. What is also expressed in room 2 with the series of Natura Morta / Still Life, inspired by the work of the women of the Bauhaus and the painter Giorgio Morandi. In representing the pictorial tradition in the West as an ideological and conscious choice, exposed both through the classic techniques of oil and embroidery, but once again becoming a crossroads between geometric abstraction and the weight of a technique which, when it was established, highlighted the oppression of women in an artistic medium dominated by men and in which irony is concentrated in showing serenity, well-being and harmony from the chromatic to the aesthetic, but with an iconography and craftsmanship also designed to connect from the emotional, since that appeals to blur the lines between what is elitist and someone who is not part of this intellectual sphere, see this exhibition and feel equally represented.

Alluding to the daily drama may be a commonplace, but the various ways of approaching it that Truffa proposes, unusual or not perceived as such, is to give another approach to what is a common reference (the cup, the teapot, the coffee pot). ), but which under the trap of the pandemic have transformed into a diversity of layers and interweaving similar to the Andean braid that even refers to its Arica origins. What reveals a letting go of chance, generating aesthetics that range from the simplest to the abstract and from the most banal to the most symbolic.

In “Sellos de ocio” we see all this and more, as Bruna Truffa not only uses the pandemic as an alibi, taking advantage of the closest environment, but also recreates the domestic. An axis through which one perceives that veiled but poignant hint of irony which is so familiar to them and which always accompanies them, questioning and summoning them, but which in this case extends to the aforementioned boxes of medicines which are transformed – almost involuntarily into paintings modernists – to certain disjunctions leading to disjunctions or even adaptations between Eastern and Western popular culture, including the recycling and redefinition of images or roles associated with art history, the artistic task itself, or genres and all controversies that this background brings with it, which is expressed here with a permanent and renewed counterpoint.

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