The Puppet Room (Memorie)

source: highlike

Work: There is a parcel in the Art territory where hybrid process is accomplice to the mystery. Although it is not a new alliance, because Giusseppe Arcimboldo or The Bosch made use of it, certainly the nowadays multicultural sphere seems to suit it. Towards the Art works created in the beginning of this fantastic interpretation, that provokes rare symbiosis, the spectator generally reacts with worry and certain anguish. Umberto Eco recognizes that a sinister trace prevails in them; if they frighten away and cause us horror is because they represent “something that is not like it should be”. They are images that send us to the dreamland, an expanded world, in its more artistic concept, not just because of the evocative, but also because of the literature or the cinema. Facing Ivan Prieto’s surprising scenes we can feel that kind of anxiety or disturbance sensation and, above all, of mystery. We talk about characters that supposedly react like any human being, live in the same spaces and act in the same way that any well-known man or woman would do. However, they are neither common nor respond to the Homo Sapiens vulgar prototype. They are different or, maybe, not so different. Alberto Manguel reminds us that people that can disturb because of their behaviour –peaceful but at the same time inexplicable and strange– always have existed. According to that statement, talking about poets, how Gerard de Nerval was always accompanied by a lobster tied to a rope and Alfred Jarry “walked” a shoe through the streets of Paris. The list of cases could be infinite. It is possible that those people made of flesh and bone and, of course, real, like the characters imagined by Ivan Prieto, made of industrial components and, on the other hand, unreal, come from the same country, the one of the illusions, that old territory in which Prometheus destroyed all boundaries and where nothing is like it should be. Surely and, to say more, all of them are not so different to us. The aesthetic view is showed in this proposal, then, determined in certain measure by the dreamful spectrum and, therefore, close to the idea that promotes the poetics of unconsciousness before the reason’s power. The iconographic correspondences can take us to the surrealist dummies, objects inside that vanguard’s seduction eroticism that served as a base of all kind of interpretations in which the dream and chance went hand by hand. Deformed bodies, extended members by excessive prosthesis, individuals related to the elephant-man recreated by David Lynch, humanoid profiles that seem close to us, individuals that, even though ugly and absurd, move like that tin-man that desired more than anything having a heart. The artist dramatizes disturbing intimate encounters, showing them to anyone who wants to participate, to whoever wants to get involved in a private quarters where also nothing that we can see is real. The possible ‘voyeurs’ will feel submerged in a show that will seem familiar, but that has more fiction than reality. What is offered is a theatrical representation with more than one personal argument and versioned actions by the one who is contemplating. It is a silence action, paused and listless, that appropriates space in an artistic intervention that is moving away, with a spatial and temporal intention, of the sculpture classical perception. Ivan Prieto gives a new meaning to the installation, in the same line of realizations of Erwin Wurm since years, the Austrian artist that readapted daily pieces to every new place, trying to redeem them from their original function. The objects gain that way a new significance. It is Eco again who advises us that in artistic representation, beauty and ugliness reach multiple changes, that usually end up to unite them. The Italian author finishes asserting his reflections with the expression of first act of Macbeth’s witches: “Beauty is ugly and Ugliness is beauty!” an exclamation that serves as colophon to Ivan Prieto’s works a masterpiece where the grotesque can be beautiful. Mercedes Rozas. Traslation: Connie Marchante.
Photographer: Ivan Prieto
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source: afflante

Ivan Prieto is a young Spanish artist, whose sculptures present the extremes of human, hideous ugliness we avoid constantly, ugliness that is good only for laughter. It feels like Prieto’s characters hide secrets that we are not able to perceive.
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source: artchatnoir

Así se presenta uno de los artistas que destacamos en el día de hoy que aun siendo joven parece una gran promesa de la esfera Española ya que expone, trabaja y colabora con galerías como la de Ponferrada que posteriormente atenderé a ella ya que es un espacio que lleva en activo desde 2006 y opta por la frescura y reina a Ponferrada de mezcla de disciplinas incluyendo talleres, para llevar al publico de todas las edades el arte y conocerlo en todas sus facetas; sin más preámbulos daré paso a la presentación de este artista de Lugo que en el encontraréis muchas referencias con las que quiero brindar a nuestra galería virtual y mostrar a vosotros nuestros fieles espectadores a un artista que merece de mención.