If the unsettling of present day societies is related to fear, violence and that strange feeling of insecurity of capitalism itself, we can think of the place which is driving the presence of a global crisis that affects not only our status as citizens, if not our political attitude in reference to that promise of happiness associated with the welfare state. If art has a place in society, will be the reflect some of the current symbols ranging associated directly to fight or the acceptance of the established. The irony you want to be in this case through a material luxury and traditional as marble, important stone for the statues, the creation of monuments or directly linked to the tombstones of the cemetery. If the currency is not anything other than today, in that we are now pending what happens in predictable capitalism of our time, is when sensing that art should not go unnoticed. At the end, all the sculpture just as marble, as Didi-Huberman incarnate painting: a genuine metaphorical and poetical ghost.

Another element of the project is a classic technique of art, watercolor, multiple image extracted from the aesthetics of street art, stencil here becomes an exercise about the role that reflects around Bentham and his panoptism, Foucault and his "discipline and punish" iconic images coming both from the street and cinema and representing a (hyper) reality reflected in the roles that lead us to another place the resistance location.

The project proposes a critical review of the sculpture and watercolor by means of symbolic images. These symbols found in the paper could be understood as, in addition to these objects of reality against the system, one of its main players, identifiable with the embossing of the hooded figure, with an outstretched hand and another with a fist threatening, pointing out the differences between the rebel and revolutionary, who is outraged with the society - not only with the mechanisms of power - and those who decide to spend appears to the direct action. What is the place of art in the presence of the political? If it is not only indignation but acting, the role of the artist can be one who presents the symbols of power, that that represents with the same messages of the policy. And in this politics of memory, as pillars of the proposed post-romantic nihilism, appears the postulate emptiness of today's society.

Paraphrasing Roland Barthes, “there is something in the modernism that is not a matter of old-fashioned, but the same punctum where is modern the now, your same today”. 
Currently, the activity of art must be a kind of symbolic grammar, interpretation or reading which fits in this case linked to concepts that offer an interpretation of the situation in today's society, deepening and telling both his emptying, and their dispossession or their theft. It is the emptying of the ideals, the annihilation of time taken out of boxes (the time is out of joint). It is the present time, that where the artist is postulated and positions from the trench, the only habitable place.

THE ABSOLUT (HYPER) REAL
2013