José María Sicilia
11 Sep - 28 Oct 2012
JOSÉ MARÍA SICILIA
Accidens
11 September - 28 October 2012
The Gallery Soledad Lorenzo will be presenting Next Tuesday, 11 September, the exhibition “Accidens” of José María Sicilia, from 8 pm.
"What occurs" is a translation for the word accidens. Accidens refers to those events coming unexpectedly, in the system, in our lives: the unexpected, the surprise...
However, everything was already there. Accidents are revealed to us every day, but remain hidden until they come to light. "Accidents reveal substances"*. Accidents are intimately connected to time, to instants, to life. All substances can turn into accidents.
Time devours everything. "Time is, in fact, the major accident"**. We are the image of an image, an echo. An instant can be just a birdsong. Hazard is more and more like us, and fear is becoming the passion of life.
* "Accidents reveal substances " (Physique IV, op, Aristotle).
** “Time is the major accident” (Physique IV, op, Aristotle).
DERRUMBAMIENTO INTERIOR (INNER COLLAPSE)
During the Spanish Bullfighting Season of 2011, in one of the pens (“chiqueros”) of the Real Maestranza de Caballeria of Seville, seven brass plates of 200 x 100 cm were disposed, fixed on the walls. They were first painted in grey, so the bulls that were going through the pens could leave their traces on. Also excrements and urine, gores and kicks. We are nothing but images to be consumed, we are alive but we are already dead. These images mean, "This was". These walls are masks; dreaming of the face of the dead. Dogs growl when they can’t identify something, Hades means "without sight", where the visible
use to be turned off, here pours a drain without east. "What is not" is a reflection of a different world, images resting of being without form. Here, I can force perplexity,
senselessness, and labyrinths, things without rights and the poorest and most unfailing of realities to be mine. Pain causes memory.
Derrumbamiento Interior (Inner Collapse), 2011
7 brass plates, grey varnish, excrements, urine
200 x 700 cm
EL BURLADERO (THE SAFETY BARRIER IN A BULLRING)
In May 2011, the sounds of some bulls were recorded in a pasture of Salamanca (Spain). These sounds constitute the moment right before the conception of a bull, “Heaven”, the traces of life right before life itself, the image that we don’t have, of a faceless world. The space was created thanks to a point named in Greek “paredeisos”, the space in the shade of space. These sounds were turned into 3-D and recorded over the sounds of the horns towards the safety barrier of the Real Maestranza in Seville.
This way, we were able to bring together the "before the origin" and the "before the death"
In Greek, “Abysm” means "bottomless", a place where light can not get to. The Past is a starving abysm; the Future is an impenetrable abysm. “Before” and “after”, “arriving and going through”.
“Before being”, “sex”, “the original abysm”, “being avid for what is lost”. Time doesn’t exist; just the past remains. It is a truth of the past and future that will be repeated beyond death.
El burladero (The safety barrier in a bullring), 2011
Safety barrier at the Real Maestranza of Seville
LE CHAMP DE BLÉ AUX OISEAUX, 15 –M
The 17th of May 2011 at Puerta del Sol in Madrid, we recorded the sounds emerging from there: economic crisis, money, and banks... Then, those sounds were turned into 3-D by using a Fender Guitar.
Le champ de blé aux corbeaux (1890) is last Vincent Van Gogh’s painting, which is full of doubts and has a changing perspective that goes from a horizon to the forefront. It is a painting with contradictory directions. Ravens represent the anguish and deliver our destiny messages. Our future is running towards us, bringing an unpleasant air with it. The forefront seems to be moving, like in a nightmare. The zigzag created by the movement of the ravens helps us remember the silhouette of a file, the horizon itself. A mass of thick air tries to pull us down. Only the ravens can open it. Nevertheless, the painting resists against disintegration, it knows what it desires.
Champ de blé aux oiseaux expresses both loneliness and sadness, but it also transmits the health and the force that only reality can hold.
"It is all about immersing yourself in reality, without a defined plan or preconceived idea"*
*(In a letter from Vincent Van Gogh to Émile Bernard)
Le champ de blé aux oiseaux, 15 –m, 2011
Electric guitar and amplifier
Variable measures
2013
This "2013" work begins in Vincent Van Gogh’s "Le champ de blé aux corbeaux". By turning a Ravens singing into 3-D we could see the silhouette of a file. In English, “Raven” is a bird and also a synonym for “devour”. "I was". Being filed off permits us access to the simple past. Ravens, as Time, are predators, and they produce art.
2013, 2012
Files assembled through melting
44 x 35 cm
EL INSTANTE –CÁNTOS DE PAJAROS (An instant – Birdsongs)
A geometry of octagons inscribe themselves upon each other; different songs inhabit this geometry and are represented by sonograms, genuine imprints of the sounds issued from the birds, allowing them to be visualised, the octagon is a representation of the bird, a symbol of the soul, of rebirth, in both Western and Eastern world1.
Más muerto que la muerte es el canto del pájaro que viene de desaparecer. La duración del canto del pájaro está hecha de instantes sin duración, su duración es la vida.
Geometry projects time, a birdsong makes the space in front of me go backwards. The birdsong is an instant, just an instant; an instant is a place where nobody can return, where there is neither past nor future; that instant is a moment of plenitude. One knows that one exists; it feeds us and at the same time it devours us, it is the consciousness of our solitude, it is the moment before language. A birdsong that has just disappeared is even deader than death. The duration of a birdsong is made up of instants with no duration; the duration of a birdsong is life in itself.
A birdsong makes time stand still. It squeezes ecstasy. It gives us back the lost units of time. This time does not happen, it just arises; arising is leaving the depths of one’s being.
1 See Ruqbihanbaku, Ibn Sina: a series of tapestries of Western Anatolia (dated back to the sixteenth and seventeenth centuries), known as Holbein, representing prayers.
El instante - Cantos de pájaros- (An instant-birdsongs), 2012
3 tripthycs
210 x 450 cm
Japanese papers and ink
El instante - Cantos de pájaros-(An instant-birdsongs), 2012
Two fiberglass pieces
100 x 80 x 70 each
El instante - Cantos de pájaros-(An instant-birdsongs), 2012
1 notebook
10 pages, both sides
Paper and ink
28,5 x 38 cm
SATURNO (SATURN)
This work presents a pendulum and a black hole. Saturn conceives and devours, we are nothing but eaters being devoured, predators and, at the same time, preys. This mouth of darkness is the image of another, the uterine. Being returns to its origin, to the unknown, to the “before language”. Not to go back to time, go back
to that point “before time”, to a different night, to oblivion. Let you be devoured and adore time.
Saturn, 2011
Solid brass, engine, steel wire
60 cm diameter
AUSENCIA (ABSENCE)
Ausencia Kamaichi finds its origin in Youtube. Videos on the Internet covering events occurring in several places of Tohoku Coast, Minami Sanriku, Sendai, Ofunato, etc.
The sounds of the videos were turned into 2-D. These videos talk about perplexity and amazement and then they move on absence, into a labyrinth of absence.
Ausencia, 2011
Corian, aluminium frames
200x200cm
José María Sicilia
Accidens
11 September - 28 October 2012
The Gallery Soledad Lorenzo will be presenting Next Tuesday, 11 September, the exhibition “Accidens” of José María Sicilia, from 8 pm.
"What occurs" is a translation for the word accidens. Accidens refers to those events coming unexpectedly, in the system, in our lives: the unexpected, the surprise...
However, everything was already there. Accidents are revealed to us every day, but remain hidden until they come to light. "Accidents reveal substances"*. Accidents are intimately connected to time, to instants, to life. All substances can turn into accidents.
Time devours everything. "Time is, in fact, the major accident"**. We are the image of an image, an echo. An instant can be just a birdsong. Hazard is more and more like us, and fear is becoming the passion of life.
* "Accidents reveal substances " (Physique IV, op, Aristotle).
** “Time is the major accident” (Physique IV, op, Aristotle).
DERRUMBAMIENTO INTERIOR (INNER COLLAPSE)
During the Spanish Bullfighting Season of 2011, in one of the pens (“chiqueros”) of the Real Maestranza de Caballeria of Seville, seven brass plates of 200 x 100 cm were disposed, fixed on the walls. They were first painted in grey, so the bulls that were going through the pens could leave their traces on. Also excrements and urine, gores and kicks. We are nothing but images to be consumed, we are alive but we are already dead. These images mean, "This was". These walls are masks; dreaming of the face of the dead. Dogs growl when they can’t identify something, Hades means "without sight", where the visible
use to be turned off, here pours a drain without east. "What is not" is a reflection of a different world, images resting of being without form. Here, I can force perplexity,
senselessness, and labyrinths, things without rights and the poorest and most unfailing of realities to be mine. Pain causes memory.
Derrumbamiento Interior (Inner Collapse), 2011
7 brass plates, grey varnish, excrements, urine
200 x 700 cm
EL BURLADERO (THE SAFETY BARRIER IN A BULLRING)
In May 2011, the sounds of some bulls were recorded in a pasture of Salamanca (Spain). These sounds constitute the moment right before the conception of a bull, “Heaven”, the traces of life right before life itself, the image that we don’t have, of a faceless world. The space was created thanks to a point named in Greek “paredeisos”, the space in the shade of space. These sounds were turned into 3-D and recorded over the sounds of the horns towards the safety barrier of the Real Maestranza in Seville.
This way, we were able to bring together the "before the origin" and the "before the death"
In Greek, “Abysm” means "bottomless", a place where light can not get to. The Past is a starving abysm; the Future is an impenetrable abysm. “Before” and “after”, “arriving and going through”.
“Before being”, “sex”, “the original abysm”, “being avid for what is lost”. Time doesn’t exist; just the past remains. It is a truth of the past and future that will be repeated beyond death.
El burladero (The safety barrier in a bullring), 2011
Safety barrier at the Real Maestranza of Seville
LE CHAMP DE BLÉ AUX OISEAUX, 15 –M
The 17th of May 2011 at Puerta del Sol in Madrid, we recorded the sounds emerging from there: economic crisis, money, and banks... Then, those sounds were turned into 3-D by using a Fender Guitar.
Le champ de blé aux corbeaux (1890) is last Vincent Van Gogh’s painting, which is full of doubts and has a changing perspective that goes from a horizon to the forefront. It is a painting with contradictory directions. Ravens represent the anguish and deliver our destiny messages. Our future is running towards us, bringing an unpleasant air with it. The forefront seems to be moving, like in a nightmare. The zigzag created by the movement of the ravens helps us remember the silhouette of a file, the horizon itself. A mass of thick air tries to pull us down. Only the ravens can open it. Nevertheless, the painting resists against disintegration, it knows what it desires.
Champ de blé aux oiseaux expresses both loneliness and sadness, but it also transmits the health and the force that only reality can hold.
"It is all about immersing yourself in reality, without a defined plan or preconceived idea"*
*(In a letter from Vincent Van Gogh to Émile Bernard)
Le champ de blé aux oiseaux, 15 –m, 2011
Electric guitar and amplifier
Variable measures
2013
This "2013" work begins in Vincent Van Gogh’s "Le champ de blé aux corbeaux". By turning a Ravens singing into 3-D we could see the silhouette of a file. In English, “Raven” is a bird and also a synonym for “devour”. "I was". Being filed off permits us access to the simple past. Ravens, as Time, are predators, and they produce art.
2013, 2012
Files assembled through melting
44 x 35 cm
EL INSTANTE –CÁNTOS DE PAJAROS (An instant – Birdsongs)
A geometry of octagons inscribe themselves upon each other; different songs inhabit this geometry and are represented by sonograms, genuine imprints of the sounds issued from the birds, allowing them to be visualised, the octagon is a representation of the bird, a symbol of the soul, of rebirth, in both Western and Eastern world1.
Más muerto que la muerte es el canto del pájaro que viene de desaparecer. La duración del canto del pájaro está hecha de instantes sin duración, su duración es la vida.
Geometry projects time, a birdsong makes the space in front of me go backwards. The birdsong is an instant, just an instant; an instant is a place where nobody can return, where there is neither past nor future; that instant is a moment of plenitude. One knows that one exists; it feeds us and at the same time it devours us, it is the consciousness of our solitude, it is the moment before language. A birdsong that has just disappeared is even deader than death. The duration of a birdsong is made up of instants with no duration; the duration of a birdsong is life in itself.
A birdsong makes time stand still. It squeezes ecstasy. It gives us back the lost units of time. This time does not happen, it just arises; arising is leaving the depths of one’s being.
1 See Ruqbihanbaku, Ibn Sina: a series of tapestries of Western Anatolia (dated back to the sixteenth and seventeenth centuries), known as Holbein, representing prayers.
El instante - Cantos de pájaros- (An instant-birdsongs), 2012
3 tripthycs
210 x 450 cm
Japanese papers and ink
El instante - Cantos de pájaros-(An instant-birdsongs), 2012
Two fiberglass pieces
100 x 80 x 70 each
El instante - Cantos de pájaros-(An instant-birdsongs), 2012
1 notebook
10 pages, both sides
Paper and ink
28,5 x 38 cm
SATURNO (SATURN)
This work presents a pendulum and a black hole. Saturn conceives and devours, we are nothing but eaters being devoured, predators and, at the same time, preys. This mouth of darkness is the image of another, the uterine. Being returns to its origin, to the unknown, to the “before language”. Not to go back to time, go back
to that point “before time”, to a different night, to oblivion. Let you be devoured and adore time.
Saturn, 2011
Solid brass, engine, steel wire
60 cm diameter
AUSENCIA (ABSENCE)
Ausencia Kamaichi finds its origin in Youtube. Videos on the Internet covering events occurring in several places of Tohoku Coast, Minami Sanriku, Sendai, Ofunato, etc.
The sounds of the videos were turned into 2-D. These videos talk about perplexity and amazement and then they move on absence, into a labyrinth of absence.
Ausencia, 2011
Corian, aluminium frames
200x200cm
José María Sicilia