Roberto Rosique
Artist Declaration
My work of the last ten years supports their content in the appropiationism of images of the common media of communications (images taken of magazines, newspapers, television and the internet) to insert them in real histories that relate situations that we live on a daily basis, in order to proposing, from the art, other options for reflection around the solution of this problem.
As it is the example from among “Entre la necesidad y el Escarnio” (Between the Necessity and Scoff, 2001), a series of works technically carried out with acrylic, ink and piroxiline on canvas whose history it’s happening in the metallic wall that divides Tijuana of San Diego, California and relates several episodes of the life of Mexicans or Central americans that seek to cross that barrier, jumping the wall in an illegal way to the United States with the hope of the American dream, the hope of a better life than never can be achieved in its country of origin given the incompetence and corruption that rules in its governments. In first term are the images of the illegals or immigrants with the harshness of their social reality on its faces and their background, behind the wall, I do appropriate the images of the world that conforms some of the American fantasies taken from the comics, characters as Batman, Superman, Donald Duck, Joker, Pluto, etc. Images of the television cartoons as the Flintstone’s, the Rugrat’s, the Simpson’s, etc. and that pursue to reflect that world of fantasy, that the illegals expects to find in North America a better way to live and that fact not always become true.
I have very clear my conviction as an artist, the commitment that I should assume in my social role, because of it the majority of my works they pursue to reflect the injustices and the errors of the society, that it become so common and unnoticed for all the people. "Consecuencias” (Consequences 2004) is another example of it, a series of works on canvas and/or wood that denounce the abuses of the guardians of the order, the vendettas of the mobster of organized crime and of the losses of life of the illegals as a result of its intent by crossing to North America. I do appropriate the photographs published in the red notes of the regional or international newspapers that describe those final acts with luxuries of details, more to sell the news that for denounce the all the injustices. Repeating or to copy part of the dramatic events in a canvas to expose them in cultural spaces has for spectator other readings and probably cause other reflections that help al understanding of this international problem and not focus on the possible solutions.
In memoriam, (Tijuana, 2004), is a sculptural piece of steel of 12” of height; that is adjusted also as a commemorative and accusation act. It is a composed work with three elements: an obelisk, in this case of a landmark stylized as the ones that demarcate the geographical division of the border, it’s an element that represents the place where they develop the events; the color red symbolizes the violence and the aggressions that they live trying to cross the border, the abuses to the fundamental rights of the human being suffered by the illegals that seek other alternatives of life and finally the Croces, placed in a random way symbolizes the losses of life of those that challenged the laws of the man and of the nature, by the longing for better living conditions to become on individuals of well.
In another order of ideas, moving away of the art that denounces but continuing with using of images of the past, appropriating to confront them with those of the present, in the series that I called “A Propósito de la Postmodernidad” (By the way the Postmodernism, 2005), I do not pursue to substitute their reality but yes to remaking it in the sense that each image has their own personality on its time, located in different situations, different cities, relating histories on its hiperreality, that gives to the reader-spectator a general understanding of the postmodernism as an epoch of recycling and in another point of view, being contrasted with the myth of the death of the author, of the loss of the spirit of the object and reinforcing the concept of representation as a valid right generated by the simulacionists, the neo-geo or Object Artists, to be considered a contemporary art.
Artist Declaration
My work of the last ten years supports their content in the appropiationism of images of the common media of communications (images taken of magazines, newspapers, television and the internet) to insert them in real histories that relate situations that we live on a daily basis, in order to proposing, from the art, other options for reflection around the solution of this problem.
As it is the example from among “Entre la necesidad y el Escarnio” (Between the Necessity and Scoff, 2001), a series of works technically carried out with acrylic, ink and piroxiline on canvas whose history it’s happening in the metallic wall that divides Tijuana of San Diego, California and relates several episodes of the life of Mexicans or Central americans that seek to cross that barrier, jumping the wall in an illegal way to the United States with the hope of the American dream, the hope of a better life than never can be achieved in its country of origin given the incompetence and corruption that rules in its governments. In first term are the images of the illegals or immigrants with the harshness of their social reality on its faces and their background, behind the wall, I do appropriate the images of the world that conforms some of the American fantasies taken from the comics, characters as Batman, Superman, Donald Duck, Joker, Pluto, etc. Images of the television cartoons as the Flintstone’s, the Rugrat’s, the Simpson’s, etc. and that pursue to reflect that world of fantasy, that the illegals expects to find in North America a better way to live and that fact not always become true.
I have very clear my conviction as an artist, the commitment that I should assume in my social role, because of it the majority of my works they pursue to reflect the injustices and the errors of the society, that it become so common and unnoticed for all the people. "Consecuencias” (Consequences 2004) is another example of it, a series of works on canvas and/or wood that denounce the abuses of the guardians of the order, the vendettas of the mobster of organized crime and of the losses of life of the illegals as a result of its intent by crossing to North America. I do appropriate the photographs published in the red notes of the regional or international newspapers that describe those final acts with luxuries of details, more to sell the news that for denounce the all the injustices. Repeating or to copy part of the dramatic events in a canvas to expose them in cultural spaces has for spectator other readings and probably cause other reflections that help al understanding of this international problem and not focus on the possible solutions.
In memoriam, (Tijuana, 2004), is a sculptural piece of steel of 12” of height; that is adjusted also as a commemorative and accusation act. It is a composed work with three elements: an obelisk, in this case of a landmark stylized as the ones that demarcate the geographical division of the border, it’s an element that represents the place where they develop the events; the color red symbolizes the violence and the aggressions that they live trying to cross the border, the abuses to the fundamental rights of the human being suffered by the illegals that seek other alternatives of life and finally the Croces, placed in a random way symbolizes the losses of life of those that challenged the laws of the man and of the nature, by the longing for better living conditions to become on individuals of well.
In another order of ideas, moving away of the art that denounces but continuing with using of images of the past, appropriating to confront them with those of the present, in the series that I called “A Propósito de la Postmodernidad” (By the way the Postmodernism, 2005), I do not pursue to substitute their reality but yes to remaking it in the sense that each image has their own personality on its time, located in different situations, different cities, relating histories on its hiperreality, that gives to the reader-spectator a general understanding of the postmodernism as an epoch of recycling and in another point of view, being contrasted with the myth of the death of the author, of the loss of the spirit of the object and reinforcing the concept of representation as a valid right generated by the simulacionists, the neo-geo or Object Artists, to be considered a contemporary art.
Roberto Rosique
Declaración de artista
Mi trabajo de los últimos diez años sustenta su contenido en el apropiacionismo de imágenes de los medios comunes de comunicación (imágenes tomadas de revistas, periódicos, televisión) para insertarlas en historias que narren situaciones que vivimos cotidianamente, con el fin de proponer, desde el arte, otras opciones para la reflexión en torno a la solución de estos problemas. Como es el ejemplo de Entre la Necesidad y el Escarnio (2001), una serie de obras técnicamente realizadas con acrílico, tinta y piroxilina sobre tela cuya historia se desarrolla en el muro metálico que divide a Tijuana de San Diego y relata episodios de la vida de mexicanos o centroamericanos que buscan cruzar, saltando el muro de manera ilegal, hacía los Estados Unidos con la esperanza de hacer realidad el sueño americano de una vida mejor que nunca pudo realizar en su país de origen dada la incompetencia y corrupción que impera en sus gobiernos. En primer termino están las imágenes de los indocumentados con la crudeza de su realidad social y en segundo plano, detrás del muro, las imágenes apropiadas del mundo que conforma algunas de las fantasías norteamericanas entresacadas de las tiras cómicas (Batman, el Guasón, Superman, Rico McPato, el Pato Donald, Pluto, etc.) imágenes de los caricaturas televisivas (los Picapiedras, los Rugrats, los Simpsons, etc.) y que persiguen reflejar ese mundo de esperanza, muchas de las veces fantasioso, que espera el indocumentado encontrar en Norteamérica y que no siempre les resulta realidad.
Declaración de artista
Mi trabajo de los últimos diez años sustenta su contenido en el apropiacionismo de imágenes de los medios comunes de comunicación (imágenes tomadas de revistas, periódicos, televisión) para insertarlas en historias que narren situaciones que vivimos cotidianamente, con el fin de proponer, desde el arte, otras opciones para la reflexión en torno a la solución de estos problemas. Como es el ejemplo de Entre la Necesidad y el Escarnio (2001), una serie de obras técnicamente realizadas con acrílico, tinta y piroxilina sobre tela cuya historia se desarrolla en el muro metálico que divide a Tijuana de San Diego y relata episodios de la vida de mexicanos o centroamericanos que buscan cruzar, saltando el muro de manera ilegal, hacía los Estados Unidos con la esperanza de hacer realidad el sueño americano de una vida mejor que nunca pudo realizar en su país de origen dada la incompetencia y corrupción que impera en sus gobiernos. En primer termino están las imágenes de los indocumentados con la crudeza de su realidad social y en segundo plano, detrás del muro, las imágenes apropiadas del mundo que conforma algunas de las fantasías norteamericanas entresacadas de las tiras cómicas (Batman, el Guasón, Superman, Rico McPato, el Pato Donald, Pluto, etc.) imágenes de los caricaturas televisivas (los Picapiedras, los Rugrats, los Simpsons, etc.) y que persiguen reflejar ese mundo de esperanza, muchas de las veces fantasioso, que espera el indocumentado encontrar en Norteamérica y que no siempre les resulta realidad.
Tengo muy claro el convencimiento como artista, del compromiso que debo asumir en mi rol social, por ello la mayor parte de mis obras persiguen reflejar las injusticias y los errores de la sociedad, que de tan comunes pasan desapercibidos para la población en general. Consecuencias, (2004), es otro ejemplo de ello. Serie de obras sobre tela y/o madera que denuncian los atropellos de los guardianes del orden, las vendettas de los sicarios de crimen organizado y de las pérdidas de vida de los indocumentados como consecuencias de su intento por cruzar a Norteamérica. Para ello me apropio las fotografías publicadas en las notas rojas de los diarios regionales o internacionales que describen esos actos finales con lujos de detalles, más para vender la noticia que para denunciar la injusticia cometida. Repetir o copiar parte de los dramáticos sucesos en un lienzo y exponerlos en espacios culturales tiene para espectador otras lecturas y es probable que provoque otras reflexiones que ayuden al entendimiento, y porque no, a proponer posibles soluciones.
In memoriam, (Tijuana, 2004), es una pieza escultórica de acero de 12” de altura, que se ajusta también a ese acto recordatorio y de denuncia. Es una obra compuesta únicamente por tres elementos: un obelisco, en este caso de una mojonera estilizada (alargada) como las que demarcan la división geográfica de la frontera, elemento que representa el lugar donde se desarrollan los acontecimientos; el color rojo como símbolo de violencia significa las agresiones, los abusos a los derechos fundamentales del ser humano sufridos por los indocumentados que buscan otras alternativas de vida y por último las cruces, colocadas de manera aleatoria simbolizan las pérdidas de vida de aquellos que desafiaron las leyes del hombre y de la naturaleza, por el anhelo de mejores condiciones de vida para llegar a ser individuos de bien.
En otro orden de ideas, es decir, alejándome del arte que denuncia pero continuando con el empleo de imágenes del pasado, apropiándome de ellas para confrontarlas con las del presente, en la serie A Propósito de la Postmodernidad (2005), no persigo sustituir su realidad sino rehacerla en el sentido de que cada imagen con su propia personalidad y su tiempo, ubicadas en situaciones distintas narren historias desde una hiperrealidad que, por un lado, permita al lector-espectador entender la postmodernidad como una época de reciclaje y por otro, contraponiéndose al mito de la muerte del autor, de la pérdida del aura del objeto y reforzando el concepto de representación como un derecho tan válido al generado por los simulacionistas, los neogeo o artistas objetuales, para ser considerado un arte contemporáneo.
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