“Esta exposición que voy a hacer en Portugal, toca puntos sensibles dentro de la comprensión de las artes visuales o lo que comprendemos como Arte y porque creemos que es arte la materialización de la idea, cuando la idea es si misma ya se comprende como una obra de arte. Por estoy combinando abstracción con el realismo y los estoy haciendo converger y utilizo la pintura porque es un medio muy rico y clásico, aunque también haré una instalación.” Dunieski Garcia

quinta-feira, 29 de maio de 2014

Texto por Elvia Rosa Castro

Remedy for insanity. 17 frost Gallery Brooklyn NY. EE.UU 2014


What would Matanzas be without that blue lagoon of its bay? Not even a town like many others: they have a simplicity that enchants, while that city, located between the cultural capital and the tourist capital of the country means exactly that, the "daily nothingness", the pretension that remains halfway between one thing and the other and that, in the end, is bridge, not bridges: an emptiness we can jump.
About that condition we have ample coverage in the photographs by Abigail Gonzalez, in the political roughness of the works by José Hidalgo, in that category of "Matanzas-ness" hinted in pejorative tone by Alberto Abreu from the socio-literary theory and, perhaps, in what I always say about Matanzas: "I don't like to spend the night there because it's boring, it has no life".
On top of that pro-urban spirit emerges the work by Dunieski García, young creator who has chosen to leave aside the demands of sweetened landscapes that ensure a certain deceitful commercial success and has preferred to be a chronicler of the reality he lives in, anchored in a study of the emerging art practices and of the theories sustaining them, particularly those in connection with relational esthetics. Thus, the Duni has deprived himself of his painting craft to become an artist that installs, projects, photographs and paints, why not. He is a hyperkinetic, a devourer, a cannibal whose works bring back to us his experiences and concerns as a human being immersed in a society that, we guess, demands a minimum of responsibility.
When I stand before the works and projects by Dunieski García – in whatever support they may be – my mind is invaded by La anunciación, by Antonia Eiriz, and the play Antigonón, un contingente épico, by the group El Público. Like them, the young creator's proposals focus on the themes of stubbornness and freedom. About these essential and vital issues he projects and creates. In his works, that sort of "archaeology of daily life" – closer to some photographic series by Abigail González than to Edward Hopper, his painting mentor1 – Dunieski presents to us private, anti-heroic and anti-epic scenes, and in the style of the literary "dirty realism" he omits the tropelogical effervescence and focuses in representing simply a common, ordinary scene of our reality, without language gimmicks or rhetorical seasonings.
In his dirty or pessimistic prints, one or two elements reduce the aggressiveness of the visual image: in some cases the guitar – poetry – and in others that leit motiv of his works which is the butterfly – jump, intermittence, blinking…, freedom, illusion of freedom. Both resources soften the level of frustration perceived in each scene – a theme that, by the way, applies in any context. Madness is cured with more madness because the horizon is finite. What is presented is a "zero degree", the Nullpunkt, the symbolical suicide in and through daily life that is liberated as it can, with what is censured or socially badly judged: alcohol, homosexual relations, music, caffeine, nudity.
Dunieski's works outgrow the status of contemplation because they give faith of a context in which even repose is disturbing. They have the gift of what is disturbing and caustic, like those atmospheres where apparently nothing happens and boredom and annoyance may set the pace of any daily acting: let's say disguised violence. A Matrix daughter of disenchantment, with its well-designed codes; a parallel and so real society that rules and emerges from its underground condition and that, in spite of it, will not be published on television.

Elvia Rosa Castro. Havana. 2014
(Art curator and critic. based in Cuba)

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