ISIDRO BLASCO
Gallery is showing: 12/11/1910 to 01/22/1911
Gallery is showing: 12/11/1910 to 01/22/1911
(original article in the magazine 'Art Keys':
http:// www.revistaclavesdearte.com/critica/20917/Isidro-Blasco-en-la-Galeria-Fucares )
Whoever approaches to see this exhibition at the Gallery Fúcares thinking it will meet the same artist that just makes one year he exhibited at the Sala Alcalá 21 with remarkable success, not going to take a minute to realize his error. Because, yes, the artist, Isidro Blasco (Madrid, 1962) is the same, but the coordinates in which moves are very different.
If in fact last year's exhibition and architecture come together in a constructive, very critical on the other hand with perceptual processes with which we face the reality, now the discourse has become more intimate and, in short, more powerful. Now is the space, the construction of space and place, which is in the spotlight Blasco. Removing any reference
scenic, erasing any trace of life, subtracting the idea that the home is one safe place that mediates between the inside and the outside, now the artist has chosen to stay with the substance, armed with a skeleton from which all construction is built to show how wrong they are.
Now, when everything is settled in the hyper-hypervisibility, hypervigilance, hiperbunkerización-Blasco is right to raise issues relating to space and live in a less showy but, undoubtedly, more effective. Small plaster and wood models show us that, far from the safety of the cement and the beam, everything rests on a fragile such that the balance of the collapse not seem difficult to save.
Based on the limited space, others are added until all Living what seems achievable. Apparently it's a living space, there is communication between each other, but the feeling of orphanhood and desproteguimiento is total. Whence comes the discomfort to view nudity archaeological rests our living and our security? Vattimo
encrypted the current time as the passage of utopia to heterotopia, these being the continuous alteration of space caused by the introduction of aberration within the real. And obviously, the aberrant is given, the inescapable presence of what is always present, a reified surplus, available to our use, but now more than ever become the teleinmediatez of simulation. Ie precisely what blocks the way we live in the open at all utopian. Heidegger If the concept of living associated with the technique, it is now that our notion of architecture, living and building are protected from, as noted above, the hiperbunkerización and hypervigilance, but also security of the spectacular postmodern. Now is the time, as argued by the German, the world has become absurd image-yes-the world.
contrast, Blasco us back to the problem of the inability to locate a source for all building, if the issue of architecture is in fact the problem of location, take place in space, obviously succeeds Derrida, and the artist with him, arguing that "the establishment of a floor is an event."
Whoever approaches to see this exhibition at the Gallery Fúcares thinking it will meet the same artist that just makes one year he exhibited at the Sala Alcalá 21 with remarkable success, not going to take a minute to realize his error. Because, yes, the artist, Isidro Blasco (Madrid, 1962) is the same, but the coordinates in which moves are very different.
If in fact last year's exhibition and architecture come together in a constructive, very critical on the other hand with perceptual processes with which we face the reality, now the discourse has become more intimate and, in short, more powerful. Now is the space, the construction of space and place, which is in the spotlight Blasco. Removing any reference
scenic, erasing any trace of life, subtracting the idea that the home is one safe place that mediates between the inside and the outside, now the artist has chosen to stay with the substance, armed with a skeleton from which all construction is built to show how wrong they are.
Now, when everything is settled in the hyper-hypervisibility, hypervigilance, hiperbunkerización-Blasco is right to raise issues relating to space and live in a less showy but, undoubtedly, more effective. Small plaster and wood models show us that, far from the safety of the cement and the beam, everything rests on a fragile such that the balance of the collapse not seem difficult to save.
Based on the limited space, others are added until all Living what seems achievable. Apparently it's a living space, there is communication between each other, but the feeling of orphanhood and desproteguimiento is total. Whence comes the discomfort to view nudity archaeological rests our living and our security? Vattimo
encrypted the current time as the passage of utopia to heterotopia, these being the continuous alteration of space caused by the introduction of aberration within the real. And obviously, the aberrant is given, the inescapable presence of what is always present, a reified surplus, available to our use, but now more than ever become the teleinmediatez of simulation. Ie precisely what blocks the way we live in the open at all utopian. Heidegger If the concept of living associated with the technique, it is now that our notion of architecture, living and building are protected from, as noted above, the hiperbunkerización and hypervigilance, but also security of the spectacular postmodern. Now is the time, as argued by the German, the world has become absurd image-yes-the world.
contrast, Blasco us back to the problem of the inability to locate a source for all building, if the issue of architecture is in fact the problem of location, take place in space, obviously succeeds Derrida, and the artist with him, arguing that "the establishment of a floor is an event."
Thus, small models of Blasco remind us that have forgotten: that the establishment of a place we are faced with anything from that part and the future one day event will take place there . That is, the habitat is only one to be on track and to construct refers more to the openness of the being-in-road closure of the given security.
And this, we say with certainty, Blasco knows. And he knows it because the work outlined in The last room but it does not point it at the open character of which is to emerge any attempt to build and inhabit. On the video projection of a dilapidated house on the medium assemble boards attest to the incomplete nature of all places, the projector is matching projected moving-image of a house, perhaps with some of the artist architectural element of the installation. If the stripped-down version of this work was shown in the Sala Alcalá 21 referred to a endless wait emphasizing the finite nature of our being-in-road, now the rebuilding of ruinous encourages our hope.
Blasco's work points to know that as he left the Derrida , "there is a place for the promise, but then does not arise in its visible form." Can we live in a world that does not follow the building dreaming of those places?
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