The fifth and last part of the exhibition series Grind&Shine Inc. presents, curated by the Cake&Cash Curatorial Collective shows an installation of different works by Elena Victoria Pastor. In it, she uses multi-perspective approaches to negotiate the immediate public presence of the showcases and discusses what connections can arise from this to questions about the museum. Who walks or rushes along the train tracks, what interests in exhibitions and art do the passers-by bring with them, what kind of role does the confrontation with artistic processes play in different realities of life? Through Pastor's work, the showcases become fleeting moments of confrontation, inviting the viewer to an interplay of gazes. Her works are composed of video, photography, installation, and performance that span the three showcases.
The title La Venus de Tacarigua refers to the history of the ceramic figures of the same name in Venezuela and their complex history of colonialism and the patriarchal gaze upon the female body. Through capitalist organized social systems, the art world, and advertising, violent views of femininity have been exacerbated. Pastor re-stages the figure of Venus in various ways, confronting viewers with her simultaneous presentation and deconstruction. Art historical references, the "Male Gaze," and subversive practices seem to congregate and engage in tension in the photographic and cinematic works.
As a further level of observation, the artist presents her own view of everyday moments and situations in a photo series. What happens beyond the neoliberal narratives of artistic work? Instead of serving the expectations of mystifying creative practices, Pastor addresses personal insights into daily life. Observations, situations, and anecdotes by the artist line up as the third installation in the showcases, casting quick spotlights on production, mobility, and labor. Furthermore the showcases themselves and their permeability appear to be set in motion.