Iconografía improvisada.Alfonso Sicilia Sobrino

Text by Javier del Campo, 2016

Are we still able to express ourselves using traditional art means? Do we need to use stories, statements, files and documents to share an idea or an artistic concept with the viewers? Is the image no longer the protagonist in art language? Using traditional art methods, is it still possible to synthesize a complex idea into an icon that is easily recognisable and whose meaning is neat? Has art anything to contribute to current debates?

On the 15th of May, 2011, a demonstration was held in the streets of Madrid in which the social dissatisfaction with Spanish politicians was evidenced in an undeniable way. The Puerta del Sol Square in Madrid, and soon after that, many squares all over the country, held demonstrations in which the following issues were addressed:

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A painting of knots and rhizomes

Text by F. Javier Panera Cuevas, 2011

“A rhizome has no beginning or end; it is always in the middle,
between things, interbeing, intermezzo"(.) the fabric of the rhizome
is the conjunction, "and ... and ...and..." This conjunction carries
enough forceto shake and uproot the verb "to be ”

Gilles Deleuze/ Felix Guattari


The 1970s and 80 Deleuze and Guattari resorted to the concept as in Botany is known as Rhizome (a shoot growing from indefinitely by removing shoots from their knots) to formulate a suggestive theory of knowledge fleeing of any hierarchical systematization thereof in favor of the multiple expansion of ideas, charged in turn of connections and ruptures; lines of flight and meeting points; of segments and lines of indefinite continuity...

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Beauty does not always come from within

Text by Rafael López Borrego, 2007

The life of the artist is subtle and complex
and the work that emerges from it will logically
give rise to such variegated emotions that
words will not be able to convey them.

Vassily Kandinsky

Images of the unconscious

Carl Gustav Jung, the psychiatric doctor, psychologist and essayist born in Switzerland in 1875, was the founder of the school of analytical psychology and the inventor of the notion of Archetypes and the Collective Unconscious, which alienated him from Sigmund Freud, with whom he collaborated during his early years of research.
Jung believed that the collective unconscious1 is like a biological memory of the repeated experiences...

 

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Geometry of Disorder

Text by Javier Hernando Carrasco, 2007
Exhibition: "He visto rayos-C brillar en la oscuridad". Espacio Emergente.DA2.Salamanca

Javier Hernando Carrasco
The strictly formalist interpretation of a painting or any artistic object imaginable is the exclusive legacy of the obsolete positivist school that nevertheless continues to exert a considerable influence here in Spain, though fortunately, it’s true to say, centred on the analysis of art from other times. For those who are incapable of extracting anything but strict formal readings from images that have been handed down to us from the creators of the past, contemporary abstract painting cannot have any content, and represent nothing more than a mere exercise in composition. For very different reasons, this position coincides with the one held by Clement Greenberg for nearly three decades in North America. His well known defence of artistic autonomy...

 

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Onomatopoeias of what can be looked at without being seen

Text by Óscar Alonso Molina, 2007
Exhibition: "He visto rayos-C brillar en la oscuridad". Espacio Emergente.DA2.Salamanca

As Philip Ball well reminds us,
nitrocellulose is from the celluloid and
“smokeless powder” family; and the surplus quantities
of nitrocellulose after the First World War
were reprocessed for more peaceful purposes as a
kind of paint. Does some of the material’s
explosive nature remain within it?
Alfonso Sicilia Sobrino

Language is an eye
Wallace Stevens

“Traditional narrative proportions are abolished,” Marinetti authoritatively declared in Geometric and Mechanical Splendour and the Numerical Sensibility, signed in Milan on 18th March 1914. Confronted with the impotence of the modern subject and their reading of the present, Marinetti & Co. - the caffeine of Europe, as the Parisian papers of the time called them...

 

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