Alberto ruiz de samaniego

Alberto ruiz de samaniego | interview on art as/as art.

With Poe’s raven, Modernity was born. It is the impulse of destruction that shook the nerves of Kleist, Victor Hugo, Kafka or Baudelaire. In art, it is not so much its status of transitivity that must be valued, but rather its productive nature. The painter Frenhofer could act as the first example, along with Hugo and then Moli-Nagy or Giacometti.

This book starts from the consideration that the common thread of the body gives unity to the whole combination of living forces in and around the individual. Also that the feeling of style is a sensibility of physiological character which, in turn, has to do with the desire for a certain vagabondage. The aspiration of art is that what happens in every real walk happens: that it brings us back to the learning of childhood, when things are shown for the first time, without the pressures or perversions that come with routine and habit.

José Luis Serzo is the artist chosen to start our monographic notebooks of Contemporary Art. His courage in his production stimulates us because we see in him a dedication in his work and a risk in his bet that are a clear example of the passion for his profession. Young but with an intense production, painter but with thousands of disciplines in his mise-en-scene and, above all, craft, that which is no longer easy to find. In this book, Alberto Ruiz de Samaniego gives us the guidelines to immerse ourselves in his creative universe.

Interview with alberto ruiz de samaniego – mav 2020

As if the French Revolution, Foucault reminds us in The Lives of Infamous Men, had beheaded all the fathers in the act of cutting off the King’s head. To go to the guillotine, Luc Santé enumerates, was to marry the widow, to go to the barber, to shrink thirty centimeters, to put one’s head out of the window, to have one’s photograph taken

Saudade grows on the frontier, a product of the vision of the limits of human existence and access to the imaginary realm where the concepts of this world lose their meaning. A land where -as we see in the film- granite stone reigns. The film opens with a delayed shot of a medieval nautical chart in which some monsters and wonders of the ocean are shown.

The image is the space of desire, yes, or of magic, of illusion, but also of the anticipated preparation of the catastrophic effect through thought. Perhaps the outline of an escape, the elevation of a well of anguish, its dark perimeter.

The place of creation for Chema Cobo nests in the fold that emerges from the pictorially denied object, in a disposition of clear Mallarmean origin: that which has never been seen and will never be seen, but which must be, precisely for that reason, painted.

Debate: josé gil – peter pál pelbart – ana godinho

Panofsky reminds us that «perspective» means precisely «looking through», a way of seeing and a system of representation that operates in the window-picture and is automated in the photographic device. It seems to me no coincidence that the first preserved photograph is precisely the view through a window, that of Niépce’s room at Le Gras (ca. 1827). More than looking at photographs, we (still) look through them. What objections could be made to the account of the invention of photography as a revolution of the gaze, what has not changed in our way of understanding and relating to images with the current mode of production and circulation of photographs?

And, in the same vein, nothing has really changed from the origins of photography to the present day. Rather, what has happened is an all-encompassing, planetary and totalitarian expansion, in relation to our entire phenomenological field, of that graphic technique that is created with photography. The photographic technique has allowed us to grasp the world and to compartmentalize it, to analyze it, to distribute it, to order it: to read it. In Heidegger’s terms, the expansive evolution of photography to our entire horizon of existence has done nothing more than demonstrate the idea that technique is the fulfillment of Western metaphysics.

Conversation around «pessoa / lisbon

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