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Fernando Castro Flórez.

The struggle, of modernity itself, to overcome the limit of sense as bond, more or less complex, with facts, produces a painting-sculpture space polymorph or evil, in which any claim of autonomy of the arts falls rapidly by land . We know that the essence of an object has to do with his remains, the code is not always a groove that receives all events. One task of art is to express the inarticulate and incipient, the folly and arbitrary from the perspective of the articulated and shaped, without rationalize, reinvent the formless, deform, break, although it continues to maintain the appearance of unity. Heavy Antonia works processuality Valero have some fragmentary, being an outstanding example of the aesthetic strategy of receding. In his pieces, or slightly objectual pictorial elements have been coated by veils or tissues that introduce the enigmatic dimension or, perhaps, appeal to the temporary memory melancholy. The actual fragment inserted into the scene of representation (specific to the practice of collage), crucial in defining radical modernity is, even today, a resource basic grammatical artistic behavior when there has been an assumption of híbrido1 it. Antonia Valero parts, which dominates white obsessively, express an essentialist, in which the sequential nomination to suggest certain connections with phenomenology itself of minimalism.

This creator is a line of resistance against the dematerialization trends emphasizing art vacuum trope associated with white, which are held. A border dispossession in which a vacuum can be just the blank page and the abyss or chasm terrible sight, for Freud would be the image of a primal repression, a defense before any impulse against which we should protect. For writing, the gap is the sum of all colors colorless, which is the white light of the trope. Clairvoyance is the search for a glow in the dark, if l’homme noir sur blanc Poursuit as Mallarmé wrote, constellations drawn in reverse. Total abstraction can be understood as a kind of silence, a mysterious present being in the world. Donald Kuspit have suggested that silence is the way that art has to suggest the significance of the conditions of its creation and thus appear as if it were self-created. The white, emptiness, silence, are attempts to transcend the boundaries of art to reach its deepest essence, to that mythical land.

The blank, since the shipwreck Mallarmé in their roll of the dice, until the beginning germ Octavio Paz or Blanchot silent space, defined an essential form of poetry 2, where also the liminal aspiration whiteness present in art heroically in the case of Malevich, or retreat to the quiet of the music, after the end of harmony 3. No doubt in the works of Antonia Valero mestizo and white film about Antonio Blanco Artero appears that aspiration towards the border of the symbolic, in that territory in which the temptation to silence or complete abandonment of artistic alienation acquire much power. But the attitude of these two artists is not so much a wreck nihilism as a revival that continues regardless. Replinger Mercedes notes that «it is this memory that emerges from cracks or sores inside the geometric rigor (Valero) in the immobility of light in the darkness (Artero) the only star of this show.» The proposed anti-decorative clearly these two creators eventually acquire the tone of the untimely at a time when the predominantly what I will call, period, aesthetics of cynicism disguised as a fun dramatic or a collective deployment processes, pathetic , group therapy.


If, as noted properly Javier Hernandez Ruiz, Antonio Artero’s proposal is close to the dismantling of cinematic empathy develop the Situationists, Antonia Valero constructions claim an intimate contemplation time, a look that is able to enter the serenity and , simultaneously, emptying into which she has entered. Recall Barnett Newman’s reflections on Vartanov of the sublime, that feeling of delight to come up with something and not rather nothing, an event, on the edge of the expressible, of which bears witness: a self-emptying which escapes anxiety, the way in which the transcendent is materialized in April. What happens in the works of Valero and Artero is a stark presentation of mystery, a place that in the film is nothing which anyone can project their imagination, as in the oft named Cage’s silence, while glazes picto-sculptural curiosity tries to track what is behind the taut skin.

What is revealed, which makes the vision is on, is the beauty: «Beauty is life and vision, the vision of life» 5. Paradoxically, the same beauty that creates a vacuum, but provided that the void is full, open flame so writing intangible aural space, but could also be described, to the Nietzschean way, like a desert that grows inexorably.


All that can be transmitted in symbolic exchange is always something that is both absence and presence. Used to have that kind of fundamental alternation makes, after appearing at a point, disappear and reappear in another, leaving behind circulating the sign of the absence in the place it comes from. The work of art is understood as a function of the veil, introduced as imaginary capture and place of desire, is the relationship with a further, fundamental to any symbolic articulation of the relationship: «Put another way, the function of the veil is projection of the intermediate position of the object «. Antonia Valero fabrics along with all the remaining elements of the process are exposed in a closet like a file mapping or radical passion, sedimentation of a vision that began with a woman on the balcony wrapped in a white blanket. «When I close my eyes Antonia Valero-writes, at times, other targets of different intensity are linked in some way to the early white, or at least make me remember.» On the screen only have the flash of light, nothing hypnotic projection, but also could be understood as an abyss that sucks banal reality, one in which we are trapped. Two extreme forms of levity aesthetics, attitudes border in which the expression is almost a whisper, indicating minimal full of excitement, eager to find autism in a time of widespread complicity. Inhabiting void spaces, introduced in these rare forms of plastic solitude requires a strong determination and, above all, the ability to listen, noise beyond spectacular in the world, the poetic. Something unusual and therefore worthy of commemoration.

1 contemporary paradigm is the collage, as defined by Max Ernst, but with a difference: Ernst said the collage is «the meeting of two distant realities on a plane foreign to both.» «The difference is that there is no longer a different plane to distinguish artistic realities, and these realities are so far apart» (Arthur C. Danto: After the End of Art. Contemporary Art and the Pale of History, Ed , Barcelona, ​​1999. p. 28).

2 «The words represent a break from silence to silence refer only to white, vacuum environment, and especially spaces and white verses more of the page, the total silence or absolute white» (Andres Sanchez Robayna: the black light, Ed Jucar, Madrid, 1995, p 32.)

3 All the arts are oriented modernity towards its limit, but with the express will of transpasarlo, want to reach beyond the poetic word to release the «white space» that bathes of ambiguity and even vanishes at its meaning, as in the last poems of Mallarme (Igitur); want to get beyond the sound to clear the presence of silence (A. Weber, John Cage), or want to replicate the game chromatic paint on his foundation «baseless» in this «white on white» liminal aspiration constitutes Suprematist / Malevich) «(Eugenio Trias: Limit Logic, Ed Destino, Barcelona, ​​1991, p. 244).

4 «The inexpressible does not reside in a far away, another world, another time, but in this, that happens (something). Determination in pictorial art, the indeterminate, the (happens), the color, the picture» ( Jean-François Lyotard, «The Sublime and the vanguard» in The inhumanity. Talks on time, Ed Manantial, Buenos Aires, 1998, p. 98).

5 Maria Zambrano: Clearings, Ed Seix-Barral, Barcelona, ​​1986, p. 51.

6 Jacques Lacan: «The role of the veil» in The Workshop 4. Object Relationship, Ed, BArcelona, ​​1994, p. 159

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