Dicotomía del Instante -Carmen Hernandez- (Ingles)

Gloria Fiallo and the pictuaralization as virtual placer

Does it lie the success of art in its “harmless ” or ineffectiveness ? Let’s explore it from another hypothesis : art is the place of imminence. Its appeal comes , in part, of announcing something that can happen , promises  the meaning or modify its innuendo . It does not fatally compromises it with hard facts. Leave what it says on hold.

Nestor Garcia Canclini, the Society in account, 2010

 

The career of Gloria Fiallo, is marked by the critical position, inherited from feminism, which today is deployed as cultural criticism, as it deals with deconstructive strategies, dismantling the system of values of a patriarchal society, and the representational models art, with their respective social hierarchies.

In recent times, it has been shedding Fiallo, the reference field, l to take a playful adventure on relations between the pictorial values, and textile design, which recreates the tautological tradition of modern painting, represented, by the use of point, line, and the plane obsessed Piet Mondrian and Kazimir Malevich, and proposes new representational, beyond the strong influence of the identity references operations. The designs, colors and fabrics for curtains, tablecloths, upholstery, and clothing offer about this artist, a world of ways to reinterpret and reconstruct symbolically, from the expressive strategies developed by the constructivist abstraction and minimalism (serialization of shapes and lines), without doubt, the place of art, and favor so that nationalization of everyday life, without nostalgia undiagnosed, important art theorists, and philosophy (1).

Fiallo playing with building strategies but with his pictorial intervention, replaced the study of the behavior of color, and shape a dynamic dialog figureheads, who live in diffuse areas, and create interconnections that “pollute” the severity geometric. Thus, mocking the morphological formalism pictorialización a process that recovers the aesthetic value, and communication of those images, produced industrially, by a mere sense of visual enjoyment.

The painting, which refers to both the act of painting, like a variegated form, to art in linearity, is understood here as the dissolution of the boundaries of art and what is not art because it stimulates dialogicality, between pictorial “created” and the pictorial “found” in generally dual compositions. With this method, the artist warns that the pictorial gesture stroke today in day has lost value since the skill of the trade as “genius” ,, has shifted from the denotative (the style or maniera) to the connotative (the communicative) capacity. Technological advances, and the study of representation systems themselves, from new artistic formulations, bolstered by the vanguards it possible to understand, that the look is determined by cultural factors, previously they determine the ways of seeing, and represent, from prior knowledge, able to interpret (2), according to initial studies in this area of the “form”.

Arthur Danto has pointed out that the passage tautological modern art came to neutralize the pictorial character: “The monochromatic canvas, or the final stage of this collective process, of despicturalization until someone comes to physically attack, stabbing the canvas itself (3) “. Fiallo, recovers pictorialización in daily life, and offers other energy, to revitalize the vertical plane of the painting, then transit to the horizontal, with the experience of action painting, and the incorporation of corpora movement in l creative process.

The painting is part of everyday life, and the work of the artist, is arbitrary warn those relationships, codes established between art, textile and wide imagination, with its textures, colors, brightness, and opacity. This recognition can not be possible without the formation of “new ways of seeing.”

This decorativista aesthetic and recovered, imaginative shapes in random associations, although dialogic, and include not without reflections, poetic subjectivity, constantly questioning, personally (which I’ll see or Ours is so strange), and questions the artistic canon, with the rescue of residual elements and “bastards”, the domestic supposedly imaginary world textile associated with the feminine. It also resizes the gender position of a rebel subjectivity, which favors the pleasure of chance encounters, without resorting to obvious references to the body, and violence. There are a beautician enjoyment in these figures, many organic foliage, leaves and arabesques that refer to various cultural hybridizations, and recreate an intimate tradition, to question the role of art in times, when the decorative style is masked with ideas transcendence.

To Fiallo, this creative phase, represents “another place” that can be interpreted as a reflection on the look, while on the other possible location of painting, and beauty, whose notion was traditionally associated, to hide their moral idealism that sense of “good taste”, disinterested, and supposedly transcendental. Today, it seems more ephemeral beauty (less edifying than that which endures, according to Susan Sontag), and can be everywhere, as seen in these parts, that confront us to an imaginary household, capable poetic dialogue with the canonical paint codes, but from the ambiguity of the established categories.

Carmen Hernández

December  2015

 

(1) Between the better known: Jean Baudrillard, Gianni Vattimo, DonalDoral Kuspit and Michel Maffesoli.

(2) This structure of preview visual thought was described as a visual squeme by Adolf Von Hildebrand and Ernest Gombrich, as a representative concept by Rudolf Arnheim and as style by Heinrich Wolfflin.

(3) Arthur C. Danto, <<Abstraction>>, the Madonna of the future, trials in a plural world of art, Barcelona, Ed, Paisos, 2003, page 235