During the artist talk, Alejandro Barrón remarked on the theme of the circus, connoting the importance of the audience’s thirst for entertainment. Such ideas recall Shakespeare’s world as a stage and people as actors; they are interpretations of reality and identity.
The realism and the serene expressions pull you in until the painting engulfs your field of vision and you feel you are in the water with the subjects. Once inside, you float in and out of the real and the imaginative, in and out of heaviness.
Afredo Echeverría Ripstein appears several artists at once. Initially, the familiarity of his paintings makes one categorize him among 20th century artists. Though in a flicker of thought we come to believe that it is not him but the 20th century artists who are anachronistic.
“Reminds me of Borges”, I told him, my friend, and he nodded as if he’d thought of that before. Ignacio Salazar’s work is difficult to grasp since his paintings speak to each other and one has to sustain the information the other paintings give. He includes the logical side of the imagination in his paintings, but emphasizes the imaginative side of logic.
The Bonfire Project has several planes: the physical artwork, the history of the materials, the image inside the televisions, the level of allusions, the subjectivity of the viewer, and the artist’s imagination. These planes seem as infinite as our creativity can allow us, since we could continue adding frameworks like psychoanalysis or sociology and analyze using any number of combinations, recalling a Borgesian universe.
I first heard of José Luis Ramírez through an invite, so my first experience of his work was online, through a low-resolution picture. I looked for other paintings online before I went to Mexico. I arrived there a week later, to visit my family. I met up with a friend and he told me about the current exhibition of the gallery we usually go to. He urged me to go. I did not have much time, since it was my last day before returning to Montreal, but following his advice, I went to visit the gallery.
Gerardo Azcúnaga’s works remove us from civilization: while we look at them, we do not feel we are in the 21st century. They take us to a time remote, reminding us of how primitive we are. Since we conceptualize his pieces as man-made and we categorize them as art, a barrier between us and the work disappears.
We desire possession, perhaps for evolutionary advantages, which might explain our desires to possess a book. The physicality of it allows us to pour our emotions into the book. We transfer the content into the medium. What is interesting is how the emotion does not transfer into an e-book.
I did ask him if he was concerned that his work may be perceived as fashion items solely. He responded in a calm an empathetic voice, “ I don’t function within those divisions.”
Reading Milton, I decided to listen, continuously, to a recording of “Il Penseroso” in hopes of memorizing the poem. Soon, I was listening to the recording for most of my day and went to bed with the mental residues of the poem, meaning that it was mostly sounds and rhythm and not words.