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.
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