Jobaaj Stories
Juan Davila: A Retrospective of Poetical Acts
Foxy Production, New York, and Kalli Rolfe Contemporary Art, Melbourne, proudly present a comprehensive survey of works by Chilean-Australian artist Juan Davila. This inaugural North American solo exhibition, showcasing paintings, collages, and works on paper spanning from the 1980s to the present, offers a powerful glimpse into Davila's unique artistic voice.
A Synthesis of Styles and Subversions
Davila masterfully blends diverse genres—history painting, Surrealism, Pop Art—and subjects—Latin American history, colonialism, Indigeneity, gender, and sexuality—to create a provocative and distinctive body of work. His art isn't just visually arresting; it's a potent critique of established power structures and historical narratives. Davila describes his art as "poetical acts," a deliberate disruption of visual conventions fueled by urgent political and philosophical insights.
Challenging Identity and Myth
Ned Kelly’s Psychosis (1984) and Crocodile Dundee (1988) exemplify Davila's irreverent approach, satirizing Western modern art and Australian settler culture. Works like Ex Voto (1991) and Self-portrait (1992) delve into the complexities of patriarchy and religion, while Two women on the banks of the Yarra (2003) reimagines the female nude within art history, shifting the gaze and highlighting Indigenous and European perspectives. His recent works continue this exploration, confronting the legacy of portraiture and addressing themes of Indigeneity, gender fluidity, and revolutionary history.
A Legacy of Provocation
Davila's work, marked by pastiche and quotation, is often associated with Postmodernism. Yet, its incandescently provocative content—parodies of famous artists, graphic sexual content, and critiques of national cultures—sets it apart. His ultimate aim, however, is not to shock but to challenge the myths that shape identity, those that dominate our lives and those that have been suppressed. The artist's legacy continues to resonate, inspiring further critical engagement with his powerful and complex oeuvre.
Sadly, We Note the Passing of a Different Juan Davila
We must note the recent passing of Juan Manuel Davila, a separate individual unrelated to the artist, whose obituary details have been included in error.
