"Trajines" is a collective exhibition of the Human Suit project that unfolds its concept in the deepening of the different experiences, daily lives, perspectives, stories, experiences that people develop involuntarily and that are conditioned to their human suit, their skin. As a play on words, the sample is titled "Trajines", referring to the coincidences and causalities of life and hustle-meaning of the word "trajín"- that leave their mark on people, at the same time, it is expressed as diminutive of the word "suit", reflecting how small can difficulties become once they have been conquered.
In this way, in its collective nature, its function is to represent the unity, network, parallelism, correlations and affinities of humanity, through similar stories found among people who do not necessarily know each other, but are connected. Thus, the multidisciplinary exhibition combines different disciplines and techniques in a single concept. “Trajines” creates these junctions, points of reunion, identification and reidentification, between the artists and the spectators, with themselves and with Man Yu, making the network visible, in which we are all connected through human experience.
Andrés Valverde and Juan José Durán
Helen Núñez and Julián García
Trajines was conceived in the Human Suit Circuit with the intention of incorporating different artistic languages, from different artists, from different cultural subscenes as another extension of Human Suit. This in order to promote this recognition of the community of which we are part despite having different human costumes promoting understanding, compassion and empathy.
In addition to the Man Yu installation, the direct invitation was extended to 11 artists from different disciplines in visual arts to interpret and represent their own “trajín”: Ángel Lara, with sculpture; Juan José Durán, with fashion illustration; Alejandro Rambar, with a paper design; Andrés Valverde, with photography; Vernny Argüello, Helen Núñez and Julián García, with video; Diego Esquivel, with videomapping; Sheyla Palma and Yorleny Artavia, outstanding designers of the TH catwalk: The Human Closet, with fashion design; and Cristian Esquivel, with performance.
The creatives behind the artistic proposals of the fashion magazine Traffic, the illustrator Juan José Durán and the photographer Andrés Valverde, expose their work related to the realities and different aspects of people and their identities that are built from the costume that is it gives us, for example, a homosexual man's suit in a patriarchal context.
2 of the 11 designers from the Creative University highlighted in the fashion show El Clóset Humano, held last December at the National Gallery, exhibited their clothing this time inspired by Human Costume, its meaning, its aesthetics and its color palette. Sheyla Palma, with her patchwork seams, emphasizes the seams and patches that people make on their personalities, attitudes and ways of being, to hide, cope with or overcome insecurities; while Yorleny Palma emphasizes the internal force that humans can draw upon to overcome these bustles and difficult situations that come our way.
For their part, together with Man Yu, Julián R. García and Helen Núñez, the audiovisual producers of the fashion films at Mercedes Benz Fashion Week, far from the catwalks, present the award-winning short, No. 77873B, on the renunciation of being before the systematization of the society that limits, conditions and presses us based on stereotypes and imposed objectives. On the other hand, Vernny Argüello, the person behind the scenes and cinematographer of the promotional videos of the country brand, Esencial Costa Rica, left for a moment the beautiful national landscapes, its beaches and volcanoes, to film a video art based on Man Yu's script about the false realities and illusory layers of virtuality in social networks, which lead people away from their searches, their missions and their internal experiences.
Also, the sculptor Ángel Lara, recognized for his work in resin, iron and bronze; and designer and architect Ale Rambar, popular for his works on paper layers; Two different techniques of sculpture work. Ángel exhibits a beautiful resin torso, this time with a head, which reveals inside him the personal activities that daily involve us in a list of endless chores that deviate us from our important objectives. While Alejandro highlights the positive aspect of empowering himself with the tools that are given to us with the human suit in order to focus on achieving our dreams.
Diego Esquivel, the prominent videomapper and digital artist, as opposed to the designers, but in a spun way, presents a proposal related rather to the enhancement of the ego and superficiality developed from attributes of the human suit that, in the long run, by his ephemerality and perishable character, return people to the recognition of their inner being.
Also, ephemerally, Cristian Esquivel, with his character, EVO, tries in his performance existentialist aspects to live with the suit that is given to us, exploring it and digging under it, to try to discover ourselves inside skin, which, for him, is a frustratingly endless task of uncovering layer after layer beneath his being.
In the exhibition, Man Yu exhibits an installation that reflects an interpretation of his external and internal experiences related to a childhood snatched away by bullying caused by “wearing” a human costume different from the others: a costume of an Asian girl at School Active Catholic, in San José, 1987.
From a hook hanging on a wall -as in the first work of the collection, from 1987-, hangs a yellowish dress -like the color of Asian skin-, semi-transparent -representing being a cape-, with a length of 9 meters and with red seams loose-reflecting an infinite number of possibilities. Behind the dress there is a glimpse of a text that indicates "A life of lives sustained by brevity", hinting at the multiplicity of experiences - trajines - that each person experiences together with the human costume that was given to them - without choice - at birth.
Next to the dress, a school desk displays the notebook that has been exposed throughout the circuit, which compiles the intimate life experiences, related to their human costumes, that the visitors have wanted to share with others.
Likewise, the installation invites visitors to do introspection and share their own "trajines" associated with their "human costumes", that is, to tell those stories that, from aspects of their physical existence, of their human costume, influenced their decisions and life course. In this way, the installation is invited to intervene with a series of objects, tools and materials that are supplied on a table next to the dress, so that they leave their experience within the work, reflecting the interrelationship between the trajines of life of the different people and Man Yu