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 thatthe exhibition suggests exploring, having in common an inherent desire forgranting 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 doeson 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.
Cristina Garrido, Aerial photography does not create space but registers surfaces, 2016-2020
This installation presents a series of moving images of photographs taken from airplane windows. The images are sourced from Cristina Garrido‘s collection of aerial views posted by international curators on their social networks, as these agents document and share their movement from one art event to another. The images shared by the curators and reinterpreted by Cristina Garrido stand out for their simplicity and romantic nature. Although there are a constant confrontation with images in exhibitions, publications and other media, the view of the sky from a plane remains somehow a source of the sublime. Through this re-appropriation, she reflects on the hierarchy and circulation of artistic images and the power roles of artists and curators in this dynamics.
Andrea Galvani, The Relativity of Simultaneous Events [In Motion], 2020
In a diagram, equation or logical proposition, the universe is summoned and tentatively summarized. Andrea Galvani’swork bring together mental abstractions and physical phenomena, deifying and humanizing scientific knowledge. This new series offers a visual and sensitive understanding of phenomena that fascinate and form the structure of the physical universe. His workseems to observe a cosmology, which celebrates the power of human knowledge, and at the same time proposes the impossibility of calculations and instruments to contemplate the mysteries they seek to describe.
Richard T.Walker, The space inside repetition (expanded) #1, 2020
The idea of reaching the peak of a mountain, both as a physical feat and a metaphor for success, has captured the imaginationfor centuries. However, from a certain point of view, we are never truly “there”; to be able to observe the summit in the horizon, distance is necessary. In the space inside repetition the artist overlaps photography and illustration and the silhouette of a mountain sculpted in neon to reimagine this experience. Richard T. Walker’s work can be conceived as a contemporary meditation on the romantic conception of the landscape, the individual and their relationships.
Octavio Abúndez, Silencio, 2020
How to represent silence? For centuries, this phenomenon has remained one of the main entrances to the world of the sublime, from the inability to convey the experience that goes beyond the senses and the intellect, to the stillness that is sought in meditation. The silence achieved is a door to the sublime and a sign of mental bliss. The work is also an exercise in thought, in non-representation, around the few punctuation marks that represent this absence or infinity of language.
Mauricio Alejo, Powder, 2019
With the artwork in the center, Mauricio Alejo’s images often represent uncanny situations of physical tension. In a self-conscious photographic staging, his compositions highlight the material and sculptural nature of the objects depicted. This photograph shows the edges of a white powder cube that may recall a rock formation or a small landscape on the verge of collapsing. The reading of the image can lead to the micro and macro landscapes proposed by late capitalism, its climate and environmental crisis, and the precarious balance of the Antropocene.
Discover more and visit the exhibition at Galeria Curro available until May 29th, Calle Andrés Terán 726, Guadalajara, Mexico