PAINTING & UTHOPY
During 1870 and 1914, to expire the normative and aesthetic paradigm of the "art as imitation of nature" and to enter in validity the so acclaimed practice of the aesthetic principle of the "art by the art", coined by the french philosopher Victor Cousin in 1818 and which synthesizes his reflection on "the faculty of judgement, as formal finality or aesthetic and as natural finality or objective", postulated by the prussian philosopher Immanuel Kant in his work untitled "Critique of the Judgment" published by the University of Königsberg in 1790 and by which it think that "the art embodies its own raison of being". Is right there, in that historical period of modern art, where we can adduce with all reason that the painting reaches such transcendence, becoming an autonomous system that persists at the time and whose potential energy is given by "the act of creation" and " the act of resistance", among a creator and recreator action of this “man-artist”, reasonable human being that simultaneously emulates its most earliest origins that talk internally and quietly.
We can so, as artists, differentiated clearly from the history and art theory, cultural and visual studies, the artistic practice prevailing and the artistic experimentation, the parallels between the interpretive and discursive fact whose base is the critic reflection written and interdisciplinary about art, and the creative and recreative fact emanating from the pictorial action, whose baseline is "the plastic reflection" made by each "artist-researcher-creator". The actual painting, has inherited the reflection initiated by the exponents of modern art and updated by its own disciplinary successors in the contemporary art. The actual painting prompts us to reflect on that remarkable presence that survives in the time, whatever be their structural logic, or rather, that materiality, that presence in form of documentary trace, has left each "artist-creator" to transcend or becoming in "painting-time".
That "surface of the painting or pictorial activity space", that specular image of the duration, that spatiality, that temporality, that subversion of their own dimensions, is possibly which can bring us itself to the own object of the "painting-art".
Such persistence, that constitutes the creative and performative act of the man in the painting and that is manifests from their "structure and pictorial configuration or artistic experimentation", in that mirror-surface, which can access the artist and where explores his immanence, his union common with their totality, with his essence and with his being, reflecting its geography, its stratus, its levels and its own dimensions, its territoriality and its spatiality, its limits, projections and leaks, its paths, trajectories and drifts, its trips and travels, its movements, its energies, its inertias, its strengths, its powers, its moments and its durations, its transformations and its vestiges, their athopy and diathopy, their materiality and immateriality.
And right there, free from any external force, of all sterile imposition, of any discursive interpretation, of any criticism or instituted truth, of anywhere political and ideological arbitrariness, of all formal regulation and conceptual formality, of all cliché or possible stereotype, of all snobbery and planned obsolescence, is where through empathy of the man and the painting, it becomes possible to view between the contemplation, the introspection and meditation, the resurgence of its layers, its convolutions, its reliefs and accidentalities, their transparency, their chromaticism, their vibrations and radiations, their reconstructions, their realizations or ideal planifications, of its possible worlds and their imprecises and timeless geographies, of their thaumaturgic and tautological powers, and their heteroclite, teleological and telluric forces.
In such inhospitable spatiality, is where we can witness finally the renascence of man across the painting and uthopy, in spite of everything, messianics.