Esther Ferrer. Female body conceives and crosses through space in non-stipulated time

Text made in occasion of solo show Entre intimidad y exhortación, by Esther Ferrer, at espaivisor. Until January 18th,  2019

With performance the natural amalgamation of body and space was inducted into art’s repertoire of expressions, which, up until then, had largely relied on two and three dimensions in its forms of depicting externality or of constructing narratives grounded in the real, including the most radical iconoclasm. Introducing the body and its movement through space, or its mere occupation of it, adds a time-based element to artistic representation, which is then no longer justdepicted reality and instead constructs a real moment. On the other hand, actions break away from the univocality of authorship and the ego, while at once questioning artistic fetishism, given that, in the best of cases, the resulting work is a recording of the action; but the time of this observation is of a different order, and thepresent vanishes and gives way to apresent. If we accept that determinacy includes an usduring the time when it takes place, then indeterminacy turns it into a result, a commodity. In this regard, when time and space converge, they construct something else that does not depend exclusively on one or the other, but on the indivisible presence of the two, taking on the character of prime numbers which can only be divided by one and by themselves.

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Politics of Gestures and of Life

Text publlished on occasion of the exhibition Politics of Gestures and of Life, with the works by Fernando Bryce, CADA, Lotty Rosenfeld, espaivisor Gallery.

Art helps us to more precisely understand our surrounding environs and its context even in cases when it has no social or political pretensions. On the other hand, when its understructure and goals are clearly political, this understanding of our surroundings becomes a kind of unveiling of what powers-that-be try to conceal. The function of artists who act politically is not to represent an artistic activity but to construct a reality that competes with the officialdom of its adversary, generally defended by governments that limit freedom, or are unfettered by the constraints of memory or self-critique. When they suffer from a lack of memory, there is usually an authoritarian government near at hand, or at least the lingering effects of one, the product of a still enduring legacy; when what they are lacking is self-critique, one can gather that their democratic processes are still unseasoned.

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