It is essential to create a space to do nothing or do useless things, to be able to get lost and look inside oneself in a way decontaminated of pragmatism, profitability or benefit.
(Nothing Room or Noting Room.) (Nothing: "emptiness" and Noting: "observe")
To forget the names.
(Self-taught illiteracy? I do not know, it will be a puzzle for me and for you.
To ask not what it means, but to articulate reality.
To leave incomplete, so that, it is not; because when it is, it closes in on itself.
Always on the edge of an impossible confidence.
Incessant suspension of the answer.
Losing the language to reinvent worlds, although many times the imagination is confused with misinterpretation.
The content inhibits but you can not continue without it.
There is content but the content is not solving a problem.
The content is building a reason to do that.
Stuck between the need for content and the need to leave that behind to be able to fly, you try and fail, by failing you learn and little by little a path appears.
Suggest, more than define, as a door to invention, which is the intelligence of the construction.
So in hand with the masters, I do not look for answers, nor do I want to solve the mystery, but only remain in the wastelands of the mystery observing the constant ineffable transformation.
A poet said, that the importance of a thing is not measured with a tape, or with scales, or barometers, etc. That the importance of a thing has to be measured by the enchantment that the thing produces in us. As Rimbaud quote: You have to lose your intelligence to see things.
I feel a unique attraction to the unassisted and abandoned woods, as I am attracted to the remains that lay outside the liquid narratives.
Art is like the experimental exercise of freedom. It does not mean this or that. It is a finger that points to a direction without previous plans; intuitive and a game of random improvisation, and to taste it you have to move, enter it and play.
What do we do with our lives?
People say: I think about the past, I think about the future, like anyone else.
I ask, what do I do with this?
Go back to sleep.
Art liberates us.
In any other situation, things get out of hand;
We have to create something.
- Flavio Morais
Jordi Gispert Pi presents us with a visual language to decipher: poetic visions of a world in harmony, an existential sprout stimulated by the color palette. His precise technique reveals an ecstatic, the inner symbolism of the artist projected towards the exterior, as a connection between the micro and macro cosmos, of its own expression. The neologism Econsciencia (Ecology - Science - Consciousness) defines its conceptual proposal, not limited to aesthetics, but rather positioned in reality as an alternative to the destructive inertia of the current socio-economic system, incompatible with an environmental balance.
Hermeneutics, from the Greek "hermeneutikos", composed by
(herméneuo = I decipher) and (tekhné = art). The art of interpreting texts.
Visual Hermeneutics invites the viewer, through intimate contemplation, to surrender to the intuitive feeling of oneness, and to dilute the illusory barrier between their own being and the world.
Aleph incident, 1996. mixed media on paper.141 x 228 cm.
In the nineties, Yamandú Canosa began working on the project entitled Hotel Nada (1991-1993), which he presented in different exhibitions at the galleries Benet Costa and Ciento in Barcelona, the Centre de Lectura in Reus, and the gallery Rian Van Rijsbergen in Rotterdam.
His works often scandalize the spectator, presenting some stories that bring to the extreme the common logic of which we all participate. Nevertheless, the same author defends that his exercises, always orbiting around social conventions, are not born from cynicism, but from the surprise of a naïve attitude.
He studied Fine Arts at the Parsons School of Design in New York. His work has been exhibited in galleries such as the Akiyoshidai International Art Village (Japan), the Künstlerhaus Bethanien (Germany), the Contemporary Culture Center of Barcelona, the Clara Oliver gallery (New York), the Michael Haas gallery (Berlin) the Mizuma gallery (Tokyo).
He has participated in exhibitions at national and international centers such as the Museum of Montserrat, Barcelona (2017); 'Guillermo Pfaff / Adrià Cañameras', Gallery Heinrich Ehrhardt, Madrid (2016); 'The invisible space', Piramidón, Barcelona (2016); 'Diògenes' lesson, Tecla Sala, Hospitalet (2016); University of Connecticut, United States (2015); 'Lighting', Carles Taché Gallery, Barcelona (2015); Palau de Casavells, Girona (2014)