One Morning in NYC

Seis imagenes digitales y acrilico metalizado sobre papel Somerset inkjet 225 gm., 32 x 42,5 cm.

Pensar el Dibujo: el Acontecimiento del Verbo Dibujar y el Debate en Torno a su Evaluación.

En el presente texto nos preguntamos acerca de lo que requiere la acción de dibujar como acontecimiento en sí mismo, para luego plantear posibilidades funcionales y procedimentales del dibujo que se vincularán con elementos relativos a proyectos de Investigación y Creación en Arte. Esta decisión obedece a una serie de cuestionamientos sobre la diferencia de perspectiva que opera entre la experiencia de la creación y los límites a que se obliga frente a condicionamientos externos, como por ejemplo, en la postulación de proyectos para su financiamiento, al considerar esencial expandir la frontera de la producción, haciendo tanto del procedimiento como de la funcionalidad un campo de prueba e investigación cuyo resultado quede, en consecuencia, abierto a lo que ofrezca la experiencia en sí misma. Al final se presentan ejemplos de registro in situ para un recorrido mediante dibujo, en donde se cuestionan las posiciones que adopta el dibujante respecto del motivo y la conciencia que construye y comunica a partir de la lectura y reconocimiento por parte del espectador frente al resultado de la acción de dibujar.

La conexión pintura-poesía, en las cubiertas del artista Víctor Ramírez para la Colección de poesía Vaso Roto

La relación de la pintura en el espacio de la poesía y de la poesía en el espacio de la pintura ha sido muy cercana, compleja y ha dado lugar a un incontable número de encuentros artísticos, literarios que ha suscitado una amplia reflexión y conexión entre estos dos modos de representación. Este vínculo se ha seguido ampliando hasta hoy día. Un ejemplo claro de este encuentro, es la Exposición de Cubiertas de la Colección de Poesía Vaso Roto en GALERIE K, donde se expusieron las cubiertas originales de los libros de esta colección, realizadas por el artista visual Víctor Ramírez.

Topografías.2.

Topografías.2. es un políptico de seis piezas, que enlazadas, versan sobre el cielo, las nubes, el rayo, las tormentas y el éter, de la mano del Libro VI de De Rerum Natura de Lucrecio. Este políptico pertenece a una serie más amplia aún en curso sobre Topografías. Suelos, ocupa la primera parte; este segundo grupo sobre los cielos y las nubes abarca elementos que al contrario que en el anterior, se sustraen a la tangibilidad. Sujetos que mutan de estado constantemente, de sólidos a líquidos, aire o vapor. El objetivo de este proyecto sobre topografías es basicamente, la elaboración de una cartografía improbable de sujetos inestables, en metamorfosis y/o en fluctuación.

Entre el Delirio y la Ironía: el Joker. Sátira y Cinismo en la Obra de Chema Cobo

The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history. From cinema to painting, passing through literature and theatre. The resurgence of this character after the screaming of the Hollywood super production directed by Todd Phillips and interpreted by Joaquin Phoenix has become an excuse to revise the figure from different perspectives, and a way of finding the relationship between this figure and our present. Authors such as Velazquez or even within circus performances have nurtured this character. In this text we want to point out the case of the artist Chema Cobo (Tarifa, 1952), a relevant figure in Spanish Contemporary art since the 70s, and who has been working on this theme since the 80s. Cobo has nurtured his practice from this character, presenting him as the master of ceremonies, becoming his own alter-ego, and one of the pillars of iconography.

A Contemporary Scientific Study of André Breton’s Automatic Writing

This paper proposes a new scientific way to study the concept and technique of automatic writing in Surrealism. Based on the specialists of André Breton’s work and the experts of automatism, we expose here the literary, psychiatric, neurological and parapsychological influences that Breton had to create his own concept and writing technique. We suggest here that we have to add to all these influences, the spiritist one, specifically, that of Allan Kardec, whose doctrine and concepts, such as psychography, were a direct impact to the surrealist automatic writing, even when Breton wanted to dissociate his movement from Kardec’s doctrine. Automatic writing has been studied from many angles, specially from literary and art theory and criticism, but also from history of science, philosophy, neurology, psychology and psychiatry and even from occultism, hermeticism and esoterism. Nevertheless, we don’t know any contemporary scientific experiment on this surrealist practice, maybe because materialist principles that support traditional Neurosciences are unable to study automatic writing. For this reason, we propose to study automatic writing, not from regular Neuroscience principles that we disapprove here, but from a post-materialist Neuroscience viewpoint, which agrees with the values that Surrealism defended

Los Qualia y la Experiencia de la Consciencia en el Arte

Our life would be surrounded by a universal property called qualia that would constitute the everyday qualities of existence that would encompass among other things our sensations, perceptions, feelings and intuitions so that we would experience the world in the form of qualia such as light, sound, color, the shape or texture. These qualities would give cohesion to our senses and would have an important role in the art world to be closely linked to our subjective world.In this article we will see how our consciousness would create reality manifesting itself in art through various perceptual experiences related to a qualia network where introspection, intuition, imagination, and creativity would also enter into a more subtle plane. The qualia would help the artist to project himself into everything he would experience, not only in the act of observing but also in the same artistic processes where emotions would be translated into symbols that would enhance our evolution, as the next leap we would make would have to do with our consciousness.

Heroínas de una Sociedad Misógina. Hildergard von Bingen y la Revelación de lo Oculto. Visionarias en el Arte Contemporáneo.

This is the second article of a whole series of reflections in which our main objective is to recover the space that the women should never have lost. In them we review those heroines, combatants in a misogynistic society, who have been influential thinkers in the creative work developed by contemporary women artists. This article is centered on the figure of Hildegard von Bingen, a versatile and visionary nun, who left her legacy in different disciplines such as writing, painting, music, science, among others. A heroine, in which many artists have set their sights as a benchmark for empowerment and have directed their artistic work towards mysticism, generating a connection between art and spirituality. We collect a selection of artists who have used mysticism, silence and visions in their creative process to give voice to a gender problem in this society and to work in the fight for the recovery of a space that should always have belonged to the woman. Artists who, through their work, claim a place in a phallocentric society. Hildegard is a clear example of what we call female heroines in a misogynistic society.

El libro como presente continuo

Review of the exhibition “The book as a continuous present. Artist's books around conceptual poetics”. Tecla Sala Art Center, L’Hospitalet de Llobregat (Barcelona). Framed in the Arts Libris Fair in Barcelona.