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1 Animacion

Guillermo Pfaff – Animación 1

 

The work by Pfaff doesn’t attack the soul, so much as hits the mental plane. The tool is not the image, so much as the process. The strategy is not the technique, so much as the intellect. The tactic is not emotional so much as pure painting, without contemplation. This artist thinks more than he paints, he writes before doing it and never accumulates work. Without a previous style, his process comes and goes between the tradition of painting and the limits of language. The degree zero of the writings of Roland Barthes, the critical essay that lends the exhibition its title, pointed to an urgency to legitimate the field of escape of connotation, the most ambiguous genealogy of language. The painting by this author highlights precisely its connotative carpentry and is surprising in its rigorous ambiguity. A possible grade zero for painting: the act of painting, says the artist, begins before the first brushstroke.

 

The material, the colour or the space for Pfaff are not language, something shared, so much as the writing where the performative function of reading is verified, its more social nature. Something that is observed in the series Space, when the artist before painting folds the canvases to provoke folds and wrinkles a more sculptural than expressionist three dimensionality, adding planes to enquire into the conflict of representation of the painting itself. In another case, the painted papers The portable Paintings take painting to a new level of resistance: a series of oils on paper of 100 x 70 cm, folded to A4 and put in an envelope, they become a portable object that is easily stored. The eclectic desires of his pieces make it possible to enjoy the edges of painting; his reflection on painting freely embracing the vindication and the crisis of the concept. Two small sculptures, by the artist himself, serve to tackle the three dimensionality of painting, the essence of the representation of chromatic writing. Critical painting without any grinding of teeth.

 

Pilar Bonet, LOOKING, OUT OF THE CORNER OF MY EYE. GUILLERMO PFAFF AT LA TACHÉ GALLERY IN BARCELONA. A*Desk (fragment)

Anticipating utopia. Xavier Arenós at the Gallery Valle Ortí Pilar Bonet

 

Way too much instruction manual. Nowadays the code of a user programme seems to be the perfect functional language to apply to any occasion. In the instruction book we have perfect literature and a happy tool that saves us from anxiety, ravings or even social exclusion. Even something as rootless as utopia can occur in the form of a self-help breviary that indicates the ways to use the revolution or organise its liturgy. Worrying, without a doubt. We have routinized utopia as an ideological pamphlet at the service of any common destination, without questioning its true capacity for transformation, as the inexcusable bearer of radical and positive change always pirouetting between the real and the desired. Utopia throughout our most recent past, in becoming legitimate has lost the pleasure of discovery and has become converted into an almost mechanical ideology that applies prescriptions that only function a priori. However, utopia is like the sirens’ song in Ulysses travels, more worrying due…

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