ROBERT LONGO: MYSTERIOUS HEART GALLERY
SOLEDAD LORENZO: 01/11/1911 to 02/26/1911
In the postmodern world hiperbarroquizado today, if a thing must be clear, is that it is the effect and not the cause, who have the epistemic privilege. Unable to go back to a past just happened, everything happens as deflagration impulse, like stroke simulation and surplus is sufficient to itself.
hypertrophy of historical memory, the congratulations of an allegory in which, on the edge of the transience of time, even as a nostalgic look we can save, get the miracle to propose as valid a world understood as an infinite series of effects surface.
And this, Longo , I know by heart. Since the time of his famous ' Men in the cities' , Longo discovered the key contemporary virtuality: no hypertrophic serialization and production processes / vision, but it all become superficial temporal moment. A flash, a flash, and machine-to-watch is satisfied. If Warhol wanted to be a machine, Longo knows that the only valid machine that is consumed is the time to consistently adhere to its short image. These
' Men in the cities' shamanistic function as machines, as healers of time and destroys us, stopping just-there is any potential dismembered. Over time, if an image is captured, it does not happen, but that happens in virtuality: that is, it heals.
If, in line with these considerations, it is said that ancient Native Americans did not want to be portrayed as part of his soul was now the opposite is true: we are only to the extent that we image, only exist to the extent happens in our time glued to a picture. We are, once again, pure time-image machines.
Many accolades were Longo however pope intended to make him the master of black and white pop, a further twist, in the eighties cynicism, worked like a decadent version of the collective imagination the yuppie Yorkers. After the storm, as they say, is the quiet, and his drawings were interpreted as the negative of lives cut from the same pattern of ' American way of life' . That is, after Warholian glam, Longo proposes the other side of the coin for a soulless pop world and unassisted. So liar like his portraits, the world was not ideal for catatonic Warhol , but the tragedy of lives that are worth just that: a flash firing.
would be interesting, at this point, interpreting the works of Longo as Hal Fos ter Warhol did with : whether it would be a champion of traumatic art, being able to find a puctum by which all Real-traumatic falls through, the images of Longo lack that tearing of the display-screen and proposes a condensed time, pure time cloistered and ready to eat. And, finally, no way out.
SOLEDAD LORENZO: 01/11/1911 to 02/26/1911
In the postmodern world hiperbarroquizado today, if a thing must be clear, is that it is the effect and not the cause, who have the epistemic privilege. Unable to go back to a past just happened, everything happens as deflagration impulse, like stroke simulation and surplus is sufficient to itself.
hypertrophy of historical memory, the congratulations of an allegory in which, on the edge of the transience of time, even as a nostalgic look we can save, get the miracle to propose as valid a world understood as an infinite series of effects surface.
And this, Longo , I know by heart. Since the time of his famous ' Men in the cities' , Longo discovered the key contemporary virtuality: no hypertrophic serialization and production processes / vision, but it all become superficial temporal moment. A flash, a flash, and machine-to-watch is satisfied. If Warhol wanted to be a machine, Longo knows that the only valid machine that is consumed is the time to consistently adhere to its short image. These
' Men in the cities' shamanistic function as machines, as healers of time and destroys us, stopping just-there is any potential dismembered. Over time, if an image is captured, it does not happen, but that happens in virtuality: that is, it heals.
If, in line with these considerations, it is said that ancient Native Americans did not want to be portrayed as part of his soul was now the opposite is true: we are only to the extent that we image, only exist to the extent happens in our time glued to a picture. We are, once again, pure time-image machines.
Many accolades were Longo however pope intended to make him the master of black and white pop, a further twist, in the eighties cynicism, worked like a decadent version of the collective imagination the yuppie Yorkers. After the storm, as they say, is the quiet, and his drawings were interpreted as the negative of lives cut from the same pattern of ' American way of life' . That is, after Warholian glam, Longo proposes the other side of the coin for a soulless pop world and unassisted. So liar like his portraits, the world was not ideal for catatonic Warhol , but the tragedy of lives that are worth just that: a flash firing.
would be interesting, at this point, interpreting the works of Longo as Hal Fos ter Warhol did with : whether it would be a champion of traumatic art, being able to find a puctum by which all Real-traumatic falls through, the images of Longo lack that tearing of the display-screen and proposes a condensed time, pure time cloistered and ready to eat. And, finally, no way out.
And no way out because all are effects: the image compresses time and there is nothing left to uncover. Nothing to put to-the-eyes in a gesture not traumatic or anything to remove-de-la-looking.
In this sense, the exhibition until February 26 shown in GalerÃa Soledad Lorenzo Longo is pure : staging and condensate effects one after another. Large drawings and theatricality of the staging for an artistic experience that is understood as gimmicky staging in search of feeling. Anything and to find the shocking and dramatic, of what is, according to Longo is to build a theater of dreams worthy of our time. Only, as well should know, our theaters are lifted and only the allegory of a trauma or history of a tragedy. Longo
interfere in the webs of producing images on a global scale and break the sequence of the reappropriation is where, at least apparently, more pain: for the serialization and other strategies already bordered poppy design mass and the internationalization of a taste with the aroma of stale.
To which then plays Longo simulation is to propose a neovanguardismo demodé discolored having the appearance and staging its biggest ally. That, and that there is no dilemma that fits in any picture: all the time the image can be re-concentrated on some pictures that bring together around the trappings of what has been seen and ready to eat.
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