Galería CURRO, Guadalajara, Jalisco, Mexico
January 31, 2020 – May 29, 2020
Somehow, my interest in art has always favored those practices whose aesthetic decisions and theoretical background serve as a response to the impossibility of verbalizing their own thesis. What do I mean by this? That there is no other alternative for doing justice to the philosophical vision of the artist than through the plastic strategies implemented in the work of art. By witnessing this kind of pieces, the spectator partakes in an unusual experience that balances the visceral and the emotional with the intellect and that serves as the guiding thread of Un negocio de afecto y aversion (Inebriate of air am I).
The title proposes a complicated relationship between the spectator and the work of art. The derealization that a sublime experience is capable of imposing can arise from opposite experiences. According to Burke “the sublime is an experience so complex that our inability to form a clear mental conception of it leads to the inefficiency of our imagination”. This misconnection between the intellectual and the emotional easily goes from joy to horror.
Each one of the ten artists that are part of Un negocio de afecto y aversion (Inebriate of air am I) approach different interests of the wide range that I suggest exploring, having in common an inherent desire for granting materiality to the intangible. Some of the artists explore the symbolic and sublime implications that entails the beauty created by the Greeks according to Barnett Newman (as Adam Parker Smith does on Female Bust) under a treatment of apparent material temporality that threatens any certainty of the familiar. For example, by reflecting on the ontological meaning of technology, Heidegger criticized that it is limited to consider real only what can be mathematically portrayed. By subverting this idea, the absolute objectivity is efficiently represented, as in the series The Relativity of Simultaneous Events by Andrea Galvani, in which the mathematic certainty connects with the immediate Burkian mental disarticulation mentioned above.
This art show is a personal reflection of the interests that have shaped our program and the evolution that these have had in the specific context of Guadalajara; of the limitations and opportunities that it proposes and the theoretical consequences that follow.
Octavio Abúndez, Alejandro Almanza Pereda, Andrea Galvani, Adam Parker Smith, Richard T. Walker, Mauricio Alejo, Juan Capistrán, Cristina Garrido, Claudia Peña Salinas, Francisco Ugarte.