TRANSITO 15/21 WITH A LOT OF PRIDE

 

He was not very clear about what he was going to see in the exhibition Tránsito 15/21 by Roberto Gónzalez Fernández at the Casa de Vacas del Retiro. I admit that I only knew about him that he had been one of the pioneers in giving visibility to the great repression suffered by the homosexual community in the last years of the Franco regime and nothing else. With this little information, I had a preconceived idea of ​​his work that has nothing to do with what I saw in the exhibition. I don't know why he was predisposed to see the struggle and the suffering and what I found are colors and a lot, a lot of love in these paintings.

It's as if his paintings want to merge with reality, but they don't

. They are much better, more perfect. The bodies are more beautiful, the eyes are clear, nature seems orderly ... almost always. Because the artist reconstitutes through his eyes and his paintings what could actually be a space of ugliness. The artist masters the chaos and redirects it as if it were a spaceship. The one who had to return to earth after interstellar travel and with his technical wisdom achieves a safe landing in apparently recognizable and familiar territory. It's RBF

I did not know very well

 what I was going to see in the exhibition Tránsito 15/21 by Roberto Gónzalez Fernández at the Casa de Vacas del Retiro. I admit that I only knew about him that he had been one of the pioneers in giving visibility to the great repression suffered by the homosexual community during the last years of the Franco regime and nothing more. With this little information, I had a wrong idea about his work that has nothing to do with what I saw in the exhibition. I don't know why he expected to see struggles and suffering and what I found were colors and a lot, a lot of love in his paintings.

It is as if his paintings want to be taken for reality, but they are not. They are much better, more perfect. The bodies are nicer, the eyes are sharp, and the nature is orderly ... most of the time. It is that the artist reconstructs through his eyes and his paintings what could actually be a space of ugliness. The artist orders the chaos and redirects it as if it were a spaceship. The one who has to return to earth after interstellar travel and with his technical wisdom achieves a safe landing in apparently recognizable and familiar territory.

RGF is an artist who paints rituals. Rituals of aging,

 purification, rituals of love, vital ... rituals of violence or against violence and travel, the outdoors or the most absolute intimacy in which its characters evolve, all created and imaginary because none of the subjects that represented already exists. . Now they are others, they are different people throughout the hours, days, years ...

RGF does not paint life, but a completely personal representation of it,

 the otherness of life as a ceremony of celebration and representation. That is why his painting does not present, but he represents. Elle ne montre pas, mais démontre et en même temps elle parcourt freely the territory of l'imaginaire et des rêves, de ce qui n'a pas été vécu, de ce qui n'a pas été réalisé ou de ce qui n'existe More.

RGF is an artist who paints rituals. Rituals of aging, purification, rituals of love, of life ... rituals of violence or against violence and travel, large spaces or the most absolute intimacy in which its characters evolve, all are created and imaginary because none of the subjects that he paints. no longer exists. Now they are others, they are different people throughout the hours, days, years ...

RGF never paints life, but a completely personal representation of it,

 the otherness of life as a ceremony of celebration and representation. That is why his painting is never shown, but rather represents. He never demonstrates, but shows, and at the same time walks freely in the territory of the imaginary and the dream, of what has not been lived, what has not been achieved or what has not been lived. exist more.

What did you get into? 

Leaving the exhibition, he will never stop wondering why he uses his hands and faces to convey a message, which continues with the (de) construction of these faces. I don't know, I think that with them RGF draws his personal vision, often imposed by social rules and values, on issues such as gender and identity. However, there are people who cannot or choose not to fit the norm and exhibit identities that cross gender boundaries. And that's why, I think, this game with the hands.

Don't stop going there.

primewebreviews       knowaboutanything       newcomputerworld         techstacy

  theuniversalbeauty

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