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LOOPHOLE october 25 - december 07, 2018
  • En su cabeza ya no está el vallado

    En su cabeza ya no está el vallado, 2018

    Tracing

    21 x 30 cm

  • La pintura como norma

    La pintura como norma, 2018

    20 photographs

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • Agujero

    Agujero, 2018

    Polychrome iron and steel

    170 x 170 cm

  • Alterado

    Alterado, 2018

    Paving stones and painting

    158,5 x 158,5 cm

     

  • Valla o quitamiedos

    Valla o quitamiedos, 2018

    Polychrome steel

    210 x 114 cm

  • Bocado

    Bocado, 2018

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Exhibition view

    Exhibition view,

  • Higiene I

    Higiene I, 2018

    Mixed technique

    40,5 x 40,5 cm

  • Higiene II

    Higiene II, 2018

    Mixed technique

    25 x 45 cm

  • Higiene III

    Higiene III, 2018

    Mixed technique

    30,5 x 46,5 cm

  • Higiene IV

    Higiene IV, 2018

    Mixed technique

    31 x 46,5 cm

  • Higiene V

    Higiene V, 2018

    Mixed technique

    21 x 32 cm

  • Higiene VI

    Higiene VI, 2018

    Mixed technique

    35 x 50,5 cm

     

  • Exhibition view

    Exhibition view, 2018

  • Exhibition view

    Exhibition view, 2018

  • Exhibition view

    Exhibition view,

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

  • La pintura como norma

    La pintura como norma, 2018

    Hanhemühle fine art pearl paper on Dibond

    30 x 45 cm

PRESS RELEASE

The English expression Loop-Hole literally means «a hole in a loop», but it can be translated as a «legal vacuum», a «gap» or directly as a «gateaway».

With this expression it is explained how whenever there is a loop - a loop, a knot, an obstacle - this same loop opens a space -hole- through which to run away. It is frequently used to talk about legal gaps, safety lacks and, in general, everything that escapes to classification, security or discipline system.

With this project, Antonio R. Montesinos tries to continue researching methodologies, concepts and subjects that are common to his work, such as urban wandering, photography or the recycling of found objects and materials. At the conceptual level, it is intended to work once again on «the ordered and the entropic», the reinterpretation of rules, the playfulness and how we can exercise a certain range of freedom when we use the structures that organize our daily experience in a distorted way.

Therefore, the exhibition aims to exhibit a series of pieces that play with/subvert certain structures that organize our movements in the public space. Structures such as fences, public signage or hygiene processes.

                                           --------------------------------

Maintaining continuity with the previous exhibition, the artist delves into reusing objects practice, once recovered from the urban environment. If previously from a neomaterialist approach, now addresses its decontextualization from post relational assumptions, in a certain way, in order to work toward the search of new ways of dialogue between them, with space and with passers-by. The previous phase of the process is framed in an exercise of deliberate but random drift, in the situationist sphere, understood as a propitiatory context of situations for action and play and as an important platform for social criticism and a shuttle to the empowerment of the activist citizen collective.

Random is part of the game; on the other hand, the random experience is the essence of the ludic, that has been vindicated from different positions of the unsatisfied avantgards. According to Huizinga, the spirit of transgression and the fundament of culture lies in game. The concept of entropy is not strange to this artist´s creation, whose latest projects reveal how mess and the effect of random are present in the whole system. And it´s precisdely in those marginal gaps or interstices of the systems where the possibility of dissenting actions can be found, fighting against the abuse of regulations by the public powers. The ludens artist prefigures a ludens city as a collective action, expression, confrontation and cultural production space, where citizens in their wandering through the non-places, prefigured by the alienating norm, find the possibility of generating alternative choreographies, facing the predetermined ones, as many as their free creativity is able to conceive.

In this context, is not out of place the allusion to the International Situationist, a movement that has already become a reference for the history of fine arts and critical culture, without losing its validity in the field of action aimed to subverting the established orders. Constant, who was part of it, along with others such as Asger Jorn, Raoul Vaneigem or Debord, focused his work on constructive, urban and utopian issues, starting from a philosophy of deviation or drift, recycling, manipulation and reuse of objects found in order to resignification them or to make of them another works. He advocated a different way of doing to achieve a new life, in which it was possible to develop the creative potential and the playful impulses of citizens, erasing the borders between art and life, according to the situationist ideology. The situation would be understood as a transient micro-environment and the deployment of events for an unique moment in people's lives, as was expressed by Constant and Guy Debord in the Amsterdam Declaration. A whole battery of methods and strategies to deal with the collective alienation of a model of society that is too utilitarian. Constant formulates the concept of a playful society in which the goal is transformation through creation, which will not happen without conditions of total freedom, once all authority has been dispensed with, education is replaced by learning through play and collectivized the ownership of the physical space. Nothing will be permanent, once imposed or induced habits has overcome.

The MNCARS scheduled in 2015 an exhibition devoted to Constant. The previous year, another one, titled Playgrounds drifted around the relationship between game and the public space for leisure, with the socializing, transgressive and political potential -Huizinga- of the one, reinforced in the binomial asociation with the other. Public space began to be conceived as an element under political control during the S. XIX, hence its rational and utilitarian planning, also to obtain an economic benefits, as with the free time of the people. Guy Debord defines it this way: urbanism is the conquest of the natural and human environment by a capitalism that, developing according to the logic of absolute domination, can and must now reconstruct the totality of space as its own stage. As answer, certain avant-garde movements were thoroughly employed in questioning these uses and abuses and in proposing alternatives to subvert, reinvent and transcend living according to the statu quo, through an art that produced no objects but practices, such as performances, installations and relational art, aspiring to something more than the mere exercise of survival.

Susan Sontag conceives the work of art as a singular and untamed experience endowed with a political dimension of incalculable scope. If on the one hand, J. Ranciere places on the margins this kind of art that generates political meaning, in the broadest meaning of the expression, on the other hand, Loreto Alonso establishes some special categories, all of them inhabitants of the interstices left by others, that far from belonging to alternative worlds, they are tactics in the predesigned insides and outsides, thanks to which it opens the possibility of new approaches full of creative potential and capacity for resistance against the established order and that aspire to modify the conditions in which they take place. But it is Michel de Certeau, in The Invention of the Quotidian, who maintains that it is in the interstices between production and consumption where there is a realization, manufacturing and creation space. The consumer, in its assimilation and appropriation of the environment, reinterprets the dominant order and diverts the proposed guidelines. To a rationalized production, expansionist and centralized, noisy and spectacular, corresponds another astute, silent and almost invisible production, which operates not with its own products but with other ways of using existing ones. Hence the differentiations that he establishes between strategy -the set of actions exercised by power- and tactics -which the common man carries out in response to counteract, if not annul, the previous ones-. And, consequently, the distinction between place and space, locating the first one in the sphere of the ordered and unalterable, while the second one, which has not the univocality and stability of something circumscribed, appears as a crossroads of mobile entities ... .. it is a practiced place. In a scenary of unless possibilities, each and every one can contribute to the emergence of a creative swarm -Joseph Beuys proclaimed that every human being is an artist-, engine of that cultural plurality that is the indispensable barrier against any authoritarian temptation and that is in the inception of the universal and egalitarian collective culture advocated by Constant in his New Babylon, which he labeled as a model for reflection and play.

To Boris Groys, utopian aspirations lead artists beyond their historical context, because the imprint of art in the world is broader than the effects of politics, so often the cause of its devastation; In addition, art anticipates the future and its long lasting presence ensures the possibility of modeling it.

Antonio R. Montesinos, once again, makes a playful-creative exercise in the pieces of his last individual, Loop Hole, ensued from his deviations by the social space of the city, either by capturing, or by collecting elements present in him, again transferred to photographs or pictorial sculptures, or sculptural pieces to be laid on the floor or hanged in a wall, with undoubted installation vocation. With all of this, he elaborates a speech about the need to construct and reconstruct in an unless way the scene of the everyday, at the same time, as cause and effect of the constant creation and recreation of the forms of behavior that determine the forms of life; our position and disposition toward it. They are a proposal, among the infinity of possibilities, about how to modify all that is presented to us as definitive and unquestionable, with a clear intention to generate disorientation, and to stimulate the inclination towards the ludic and the creative potential, associated with it, that we all possess , more or less obviously or latently.

                                                                                                                                     IH

 

 







 

© 2011 Isabel Hurley