Pablo Capitán del Río at Instituto de América de Santa Fe – Damián Bayón Center
07 Mar
Pablo Capitan, The given object
Plaza España, 2, 18320 Santa Fe, Granada
Open from Tuesday to Sunday, mornings from 10:00 a.m. to 2:00 p.m. Afternoons from 5:00 p.m. to 9:00 p.m.
Sunday afternoon, Monday and holidays closed
Inauguration: Friday, March 9, 2018 at 8:00 p.m.
From March 9 to April 1, 2018
COMMENTED VISIT: March 9 at 7:00 p.m.
It turned out that the color of the object was not important, but its size, its contrast with the background of the landscape, and its movement were. He found that the decisive feature determining whether the object was treated as enemy as prey was the direction of its movement relative to its longitudinal axis. If a small, black, rectangular and elongated object moves in the direction of its major axis, it is treated as prey or as an enemy; but if it moves perpendicular to that axis, it causes the enemy to flee. Ewert designates these types of stimuli as “worm” and “anti-worm” respectively. (…) Thus, a state of high activation combined with inhibition is the basic feature of this hypothetical (agonic) mental state ”
(Konrad Lorenz. Foundations of Ethology)
There is always something that escapes in the works of Pablo Capitán del Río. We pursue a meaning that can only take place in that double state of which Lorenz’s text speaks to us. It is not a game of opposites, nor a dichotomous question, but it is the uncertainty principle on which all its assumptions are based.
For this edition of Facba 18, the works it presents, as was the case in other precedents such as Metámeros (2013), Aguanieve-sensation de (2016) or Intelligence in another language (2017), are proposed as devices that fail to fulfill their function , objects whose usefulness has been dislocated under a new logic that is none other than that of the production of questions.
Interested in ethology and other series of phenomenologies that occur in the natural ecosystem, Pablo Capitán’s works are considered almost as natural deformations in which the forces and elements of nature themselves, as well as another series of temporal conditioning factors, make their own work is being built, between the amorphous and the crystalline.
Molds of bowls that are contained and collapse, electrical networks with a bone node, brass needles that take the shape of natural elements, elements extracted from the medicine and anatomy collections of the UGR and objects that reveal the process but operate in mystery From the strangeness of everyday life, these works once again challenge the very function of artistic production and research as a mobile and agonizing state of always remaining –between. Threat reality. Get safe among these pieces.
Jesus Alcaide
Javier Pividal in Sala Verónicas.
21 Mar
Why is lasting better than burning? is an exhibition specially conceived for the Sala Verónicas space in which some of those that have become fundamental issues in Javier Pividal’s work over the last ten years are recovered and re-read.
Taking as a starting point the question by Roland Barthes Pourquoi durer est-il mieux que brûler? from which the exhibition takes its title, the exhibition is presented as a stage closure or cycle closure in its work and at the same time as a circular and holistic vision of its meaning strategies around the image and the text, the body and words.
Of all the losses, only the words remained
(Paul Celan / Manel Clot)