Cayendo hacia arriba

From objects, reality; from ideas of repositioning the object and the meanings generated by the space which subverts. Moreover, the gesture of re-contextualising doesn’t appear in the object – new context dialogue, but converts the functionalism and the logical utility into something banal which suggests a chaotic image, and even a lucid one of the structure, a victim of its own functional framework and a reflection on its incapacity to be something autonomous.

Ouroboros, in reference to the mythical image of the snake biting its tail, makes one think about power, the social structure of relationships, whether it be at institutional or personal levels, and the lack of sense shown in the application of these precepts in their own systems. Appealing to the wealth of the monument and visual impact as strategies for integrating the object, now called Ouroboros, and which requires a critical overview of the reverted processes, one is attempting to imply the form and to strengthen multiple meanings from the apparent ingenuity of choice and manipulation of the piece.

The effect of the object is neutralized with extreme subtlety by suggesting a means and aim in itself. The minimum self-intervention demystifies the artist as an object creator and profiles him or her as an archaeologist of present times, the daily events, of realities which blend in to the environment around them and thus easily escape other people’s eyes.

With doubt, the piece ponders a more explicit questioning of power and its most visible actions; this pays tribute to the weight and size of the piece, where formality introduces associations with power and its social crystallization. Nevertheless, the Ouroboros concept leans towards an understanding which privileges the understanding of power as a moral method, a self-consciousness and practical experience. It acts as an underlying state. It is actually close to the very dynamic of the art institution, despite the surreptitious of equally suggestive mechanisms. Not even the artist, nor the piece of art itself, with this aura of cognition can allude or remain distant from the conceptual fundamentals they activate.

Direlia Lazo
January 2006

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