MARCO MOJICA: 'A FRAGILE CONSPIRACY'
Fernando Pradilla GALLERY: until April fianl.
In these times, it seems that Baudrillard famously according to which art has become the privileged place for the emergence of a profusion of images where, for sure, there is nothing to do, has a health estupendísima.
The media bombardment of images we are accustomed to think that reality has been replaced by the eugenics couch potato who breaks into the living room as symptoms of visceral instinct to zappeo.
Thus, the time-image as an aesthetic emergence of a new art-especially encryption technologies, "we are captivated by the barrel of projection that takes the image and reality as ontological surface from where it rises post-modern phantasmagoria. In this way, and with Baudrillard, image-any image on your immediate profusion-and not an image but becomes real, the symbolic dominance of the absence is constantly slipped in a profusion of images that, in its brutal immediacy, become reality.
Warhol, evil genius of the simulation, merchandise and seduction, is the first to put art in its banality: Located in the heart of the image does numb your character representation and illusion. The mimetic play is then reduced to zero as the system of analogies that could function as a virtuoso of representation, is replaced by the irony of object. In its mere appear-production machine 'I want to be a machine "Warholian-subtracted image to its role as representative for sign-fetishized commodity.
while Fool followers of this strategy attached to the dynamics of the capital, the typical postmodern artist is mired in cutting-edge jobs, mainly in collage, to maximize the power of the image trivialization and reality. And, once converted the image into a commodity, what, and to continue with Baudrillard - becomes article is not the meaning or usefulness of the image itself, but what the difference as a sign of other signs, "the appearance of fact, differential, codified, systematized the object."
Thus, a final difference, one last twist when the image has been precisely calibrated in ownership, the degree Xerox of culture. Recontextualizing the image and reality within the art institution, it manages to free himself of his EGIM production / distribution to come to arouse in the same game: exchange value and exchange value, dialectical ghostly where they exist, are stripped of their quasi-divine nature to complete unveiled its strategy.
Marco Mojica (Colombia, 1976) seems to follow these strategies that appear jejos drowned out by the emergence of new technologies, far from appearing a frivolous and uncritical reference and historicist aesthetics-at least in its origin-treated of, by constant relocation context, opening a field of reflection directed towards the areas of social and political.
If these strategies initially tried to carry out a process by which family and emblematic images became distant and opaque, the work of Marco Mojica is more directed to act in precisely those images that already accounted for in its originality, a moment in recent art history. It is precisely on images that already belong to a social construct, but acquired originally belonged to the misunderstood world of art-on working Mojica. Duchamp, Warhol , Beuys, Koons are some of the icons, rather than sticking to the target artists proposed Mojica-displayed in this exhibition.
For example, the urinal, the Brillo Box, rabbit, bunny ... not they are artists, but the totemic images left by the recent history of art in its evolution.
However, this is that almost no one escapes, what effect does it have?, Is it not, at this stage of the game as they say, a price last batch, a well-known as iconoclasm supported ? We fear that it is. Today quoted the passage and the fragment, while still referring to this world and conceptualized neobarroco drift Benjamin has seen as replacing the fabric image-text-in clear reference to a run of images as signs and an art as a language-structured by a world-full and comprehensive picture without opening any transaction for the differences but to undergo semantic network devices deployed in the social, economic and political construction of collective imagination.
Susan Buck-Morss , emphasizing that it has no hesitation in holding that "the world-image is the surface of globalization. It is our shared world (...) is all of our shared experience. The objective is not what is beneath the surface of the image, but to expand, enrich, giving definition, time. At this point there emerges a new culture. "
So, if you really is to bring up a medial devices that operate as cohesive-that-called art, if you really want to work with them one last difference, it must cease to be understood as set of image-signs, to run aground as a real political mechanism able to open the field to experience, for the acts of seeing, say Brea - a whole new meaning.
Is not that, ultimately, the work of art that lingered with old-hat?
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