teatralidad-abstracta

The work arises from taking as reference the discussions about abstract art and its relationship with literature, with written language.

The capacity it has today, having ceased to be an avant-garde more than a quarter of a century ago, to be or not, more than a pure visuality or a purist practice of anti-historical contemplation. Taking the texts of W.J.T Mitchell.

I also throw into the air the historical tensions between the artist, the curator and the work. On texts by Boris Groys.

Its ability to be explained or transmitted without a theoretical and conceptual framework or instructions that delimit it, or perhaps reassure us. Is the work sick and needs to be cured?

Is the work then excluded without an artist present or a curator to contextualize it?

But that’s exactly what I’m doing now. Is it the artist, the curator or the observer/participant who defines the work?

I am going to take refuge in a place that protects me, giving it the character of an installation, an installation of a single work, proposing mere contemplation as interaction.

Technical, aesthetic and conceptual development

I chose a figure, a cube, that rotates on its axis, with different speeds and directions in its three dimensions, generating a spastic, quasi-schizoid effect, frantically trying to communicate with sounds that are no longer of this time, and the lights and shadows that form derived figures.

The first step was to think about The Black Square by Kasimir Malevich, as a work to intervene, out of pure daring.

What I conceptually encompass, both the idea of ​​abstract art, whether or not it has something to say today, something revolutionary; like the artist-curator relationship, he turned it into the development of the work.

Although I consider that it is necessary for the artist to train as a critic and can also do so with his works, it would not be convenient to discard the figure of the curator, in the same way that if abstract art has an ethical and political decision behind it on the part of the artist, it is not completely dead.

To quote Mitchell, “In fact, the abstract probably has greater institutional and cultural power as a rearguard tradition than it ever had as a challenge to tradition from the avant-garde.”

And to end a quote from Groys:

“…a work can be rejected and criticized but it can only be rejected as a whole. There is no point in criticizing particular choices, inclusions or exclusions made by the artist.”

Literature

• Groys, Boris (2010). Politica de la instalacion.
• Mitchell, W.J.T (1994). Ut Pictura Theoria. La pintura abstracta y el lenguaje.