8, 2014, at 20:00 h.
My work has never been productive in isolation; it only acquires meaning or interest through constant dialogue with other works, contexts and stories. It functions like a palimpsest that retains the traces of an earlier work while also offering a new composition, hovering between inescapable repetition and speculation about what has been omitted. My anthropological curiosity usually drives me to maintain a fragmented vision throughout the process, a vision frozen in time and open to the reactivation of memory through imagination and reinterpretation.
This exhibition project should be viewed as a preliminary, inconclusive effort that attempts to Challenger the certainty of the "retrospective" as an event, from promotion to installation. The STA GING of a "retrospective" show is the central concept around which the project is organized, seizing this invitation to exhibit at the CAAC as an opportunity to draw connections between disparate pieces and the local context, a way of re-articulating works from the past and other new creations devised especially for the occasion. Finished works can produce "non-existent works"... The objects and pieces, which are usually an end in themselves, are on this occasion the means to an end.
Divided into two acts, the exhibition establishes contact between two separate worlds: two different contexts and two paths. The first part of the show, with no chronological or linear structure, focuses on a web that operates as a series of intersections and overlaps of works and techniques from different periods, exploring from a contemporary perspective the classic idea of the memento mori -a symbol of earthly transience- as well as the nature and merits of the act of creating an artistic object.
The second part of the exhibition features two video projections and other pieces in dialogue with paintings, drawings and objects by Sevillian artist Miguel Pérez Aguilera (1915-2004), grand master of the local avant-garde scene. Rather than records of reality, the videos are actually different types of performances of reality which, like the display material of Pérez Aguilera's works and objects, take whatever bits and pieces of reality are at hand and attempt to weave them into fictions.
This second story may complement the one we
have already seen, or it may be a reformulation of the first part,
circling around the logic of mythology. It might also be a visionary
take on the preceding part, or perhaps the first act will be a commentary
on the second. A shameless aspiration for the poetic: one World
trying to adjust to another...