Susana Solano. Projects
Marta Llorente
Verkauft von Buli-Antiquariat, Gumtow, Deutschland
AbeBooks-Verkäufer seit 17. März 2015
Gebraucht - Softcover
Versand von Deutschland nach USA
Anzahl: 1 verfügbar
In den Warenkorb legenVerkauft von Buli-Antiquariat, Gumtow, Deutschland
AbeBooks-Verkäufer seit 17. März 2015
Anzahl: 1 verfügbar
In den Warenkorb legen184 pp GUTER ZUSTAND, fine. Zahlreiche Abb. Ill. Intended to intervene in space, Susana Solana's work invites us to give in to the emotion of seeing our environment transformed. It re-travels the byways of that contemporary experience of tearing down the barriers of convention and exploring new relationships and new meanings. Her works, both those meant for large inhabited spaces and inscribed within the habitual dimension of architecture, and those that due to their size affect their spatial setting, upset the conventional principles of the division of functions and of uses. And not only because they are in the habit of invading, of occupying, a space hitherto reserved for the silent void that architecture engenders, but because in doing so they transform the usual ways of ordering space itself and the outcome of the experience of inhabiting it. Susana Solano Rodríguez (Barcelona, 1946) english/español Size: 24 x 20 Cm.
Bestandsnummer des Verkäufers 014476
| Text from the introduction: Shared space: sculpture and architecture because it is our task to imprint this temporary, perishable earth into ourselves so deeply, so painfully and passionately, that its essence can rise again, invisibly , inside us. (R. M. Rilke, letter to W. Hulewicz, 1925) For some time now the words, the lovely words with which we named the different artistic skills, have been insufficient to express the artistic act. This holds true with the terms architecture and sculpture . We go aimlessly in search of them, but no current discourse is capable of once again forging in the language an alternative that serves to name new relationships and the differences in meaning between them. While words show themselves to be lacking, every day art is breaking down the frontiers that traditionally divided the hieratic kingdom of the fine arts, and that still today abide in the distance that architecture, the visual arts, musical events, literary experience, photography and film perpetuate amongst themselves. Nevertheless, the artistic act, if it survives, can no longer be defined any other way than based on a definitive rupture of boundaries and divisions, an ingenious tide of mutual invasions and a defeat of all forms of hierarchy amongst arts and disciplines. Its goal seems to be to go beyond all distinctions of realms which the ceaseless creation of meaning now is: it is irony and criticism towards the watertight compartments the arts have allotted themselves in the tradition of our culture, an exchange and mutual insemination of strengths and energies. A process of wearing away and recasting that not only corrodes the schema of the arts but also belies the very concept of art: condemning the fact that art is often just a word, as well as a reference overly limited to the object. An inward-looking concept of art increasingly leads to a vacuous experience, one that is empty and especially worn down by the effect of the frictions in the market, which deals in the objects of artistic production. A wearing away that is in line with the widespread fatigue with which Western institutions are caving in under the trend of the unstoppable decline of an entire civilisation. The paradox may well be that while the object of art is suffering today from all our doubts, the artistic experience is nevertheless thriving, multiplying its ineffable complexity while acidly charged with dismantling its own principles, its own genealogy, its ancient stock. Considering the difficult balance that a work of art must achieve in order to survive a long and exhausting tradition that seems to have experienced everything, does not mean resigning oneself to the negative auguries that foretell its disappearance and death. On the contrary, often, during difficult passages in the past, art with its own testimony has been capable of opening the furrow of new paths and expanding the horizons of its infinite possible meanings. And it has done this precisely by balancing itself gleefully over the pure abyss of its possible annihilation. Only the artistic experience itself can make this gesture of creation. Borges, referring to literature and the portents of its possible end, described how it could still keep existing, precisely, by embodying virtue itself and falling in love with its own dissolution. Similarly, we should not confer the name of art on any experience that is not capable of transforming and critiquing the ancient tradition that has given it a history. In art, experience outlives the object. The experience that is capable of transforming the environment in which we live, the gesture that deposits on the stage of life a final constructed artefact, seems to be capable of transforming the compartmentalised fields of sculpture and architecture, while undermining the ancestral prestige of a monumental order. This is the gesture launched as a challenge to space, which can still make it eloquent, and which allows us to follow the traces of that experience with the expectant passion of any discovery. Susana Solano s oeuvre, somehow fated to intervene in space, encourages us to feel the emotion of those forms of transforming our environment. It revisits the paths of the contemporary experience that consist of tearing down the conventional barriers and exploring new meanings in new relationships. Her works, both those that have been destined for large inhabited spaces falling within the usual dimension of architecture, and those that due to the scale of intervention only affect the spatial setting that they occupy, stir up the conventional principles of the division of functions and purposes. Not only because they tend to invade, or occupy, a space that used to be reserved for the empty silence that architecture engenders, but because by doing so, they transform the habits of ordering the space itself, and the outcome of the experience of inhabiting it. The nuances of their meanings dovetail with the multiple open-ended evocations that contemporary art ushered in over a century ago, yet they also entail forms of transforming the usual fields of action of our experience in space. Objects, artefacts, that Susana Solano laboriously fabricates, and that have been hung in the places that we inhabit or pass through, or that move through them in random displacements obeying a new-fangled type of occupation of successive scenarios that randomness or destiny is leading them to. Artefacts that, every time they occupy a place, either temporarily or permanently, indicate to us other forms of remembrance, of filing them away in our memory. Artefacts whose meaning is always enigmatic, that transform our way of perceiving the realities of our everyday, enveloping world: the theatres of our life. When viewing the art that Susana Solano has deployed in the stages of space, either inside the architectural matrixes of museums or in the common spaces of urban life, the interpretation of mean-ings is suspended in a realm of ambiguity. Yet at the same time the totality of the whole that they form with the world surrounding them or with the architecture enveloping them takes on new interpretations and displacements of meaning. Sculpture that is no longer sculpture and architecture that merges into a space shared with the most vivid artistic experience that Susana Solano has given it. One could delve into the nature of this transformation. It might be that the inclusion of the presence of the artistic artefact, if it could be called that, in the space highlights what architecture has lost in the frantic, pragmatic and productive system of contemporary life. The artefact, which now only bears a remote relationship to the idea of an urban or monumental sculpt-ure, points with greater clarity in the direction of attributes that architecture has lost, in the age of technical showmanship, of aseptic construction, of the distance currently separating the worlds of matter, construction and common life. Solano s works act as a link, as a union, that still upholds the environment of the world of our perception and our most emotional, proximate experience. Thus, they also allow architecture to engage in a dialogue with us, bringing it closer to the sensory world. Susana Solano s works, immersed in atmospheres of architecture, show themselves capable of objectifying the static visual domain of architecture itself over the space we share, capable of breaking the empire of its harsh categorisation into subtle shards of experience and meaning. In multiple evocations of materials, touch, gestures, memories and illusions, they bring us closer. This capacity has to do with the strange strength of the meanings inherent in art, which are more remote, enigmatic and ambiguous than what architecture can allow itself to evoke. Forms of meaning that complement the presence of... |
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