Jorge Satorre

Transcripción

Jorge Satorre

Jorge Satorre
Jorge Satorre
Ciudad de México, México, 1979.
Vive y trabaja en Ámsterdam, Países Bajos.
Tras desarrollarse como ilustrador editorial, el trabajo de Jorge Satorre recupera y
pervierte métodos propios de ese campo, en donde la comunicación tácita establecida
entre creador, historia, imagen y lector/espectador sirven de punto de partida
para relacionarse y trabajar con la problemática de los contextos específicos en
los que basa cada uno de sus trabajos.
Los modos escasos de presentación que acostumbra utilizar, en donde la combinación
de dibujo y texto funciona como medio principal, propician un tipo de trabajo que
existe basado más en las posibilidades de comunicación oral que en sus elementos
visuales.
Jorge Satorre
Mexico City, Mexico, 1979.
Lives and works in Amsterdam, The Netherlands.
After several years of working as an illustrator, Jorge Satorre recovers and
perverts the methods of this practice, where the unspoken communication established
between creator, history, image and reader/viewer serves as a starting point to
relate and work with the problem of contexts.
He often utilizes bare-bones modes of presentation where the combination of
drawing and text functions as the main support for story-telling, the discursive
thus taking primacy over the visual elements of the work.
Jorge Satorre & Erick Beltrán (dibujos | drawings: Jorge Aviña)
Modelling Standard
2010
57 dibujos en impresión xerográfica sobre papel bond | 57 xerographic print drawings on bond paper
50 x 35.43 inches each
Edition 1/25, 1
(Inv# B & S1)
*The individual prints that make up this installation were made from original drawings
by Jorge Aviña. The original drawings are sold together as a single work entitled
Modelling Standard.
Exhibited:
FormContent, Gasworks, London, United Kingdom. 2010.
Casa Vecina, Mexico City, Mexico. 2010
LABOR, Mexico City, Mexico. 2011.
LISTE 16, Basel, Switzerland. 2011.
Modelling Standard
A project by Erick Beltrán & Jorge Satorre
In the late nineteen seventies microhistory was developed in Italy as a new
historiographic methodology. Its structure is anchored in three basic principles:
the reduction of the scale of analysis, the intensive exploitation of original
sources and the adoption of the “explanatory exhibition model”, commonly associated
to detective novels since it applies deductive methods through clues. Among the
most significant contributions of microhistory to the historiographic field are:
the interest in the subordinate classes which forces the redefinition of the
historical analysis as a whole, imagination as a legitimate research tool, and
narrative as a guiding method.
Modelling Standard is based on our interest in the methodology of microhistorical
studies and could be seen as a personal attempt to achieve a never-ending critique
and transformation of the historical categories. The development of the project
was comprised of a period of research in which the origins of microhistorical
practice were discussed and analysed, such as the epistemological turn carried
out by the French Ecole des annales, founded by Lucien Febvre and Marc Bloch and
developed later by Fernand Braudel and others; the English local history studies
of Leicester University; the appearance of the term “microhistory” in the 1970’s
coined by Carlo Ginzburg, Edoardo Grendi and Giovanni Levi; and more recently,
Latin American reinterpretations of this historical practice will be some of the
contents in our research’s index.
Concepts that are inherent to microhistory are here used as a permanent strategy
to reorganize and reactivate seemingly disconnected elements that make reference
to personal experiences and popular culture. This was made into a visual diagram
depicting a series of questions based on personal subjectivity, but aiming to
propose definitions framed within the general state of the real.
This methodology is not approached
platform in which a large number of
complete scene. Among these devices
indiciary paradigm, the reduction of
as a process of random decisions but as a
historiographic tools are used to explain a
we can highlight the moral imagination, the
study scale, and the anomaly case.
The use of diagrams allows us to reduce specific situations to models, as well
as to visualise the process of solving a dilemma. These diagrams act as our
translating machines to transport the historiographic and sociological realms into
the territory of artistic practice.
The process of creating the diagrams functioned as the script for the production
of the final piece and the exhibition. The idea is to create a series of models
from diverse materials through which we will present evidence of the connections
between diagrammed concepts and potential specific cases.
Since the project tries to think itself as a conscious process coming from
the deductions of the research, it is difficult to foresee the final outcome.
Nevertheless, the cohesive element of the project is the method of writing the
basic script carried out by taking maps and projections -understood here as an
extension of coordinates- as the departure point.
The title of this project plays with the notion of the Standard Model, which is
the current theory of fundamental particles and their interaction. The attraction
and repulsion between these minimum units of matter is what makes possible the
visibility of all the things in the universe.
One feature of the Standard Model important to us is that, even though it may
seem perfect according to mathematical calculation, it proves to be incomplete.
The Standard Model cannot explain why some particles exist as they do e.g. why
particles have a certain mass. Physicists have theorised the existence of the socalled Higgs field, which in theory interacts with other particles to give them
mass. The Higgs field requires a particle, the Higgs boson, which has not been
observed in any experiment.
This model could work as a metaphor for the importance of looking at internal
dynamics in small scales at sociological and historical levels and, therefore,
the consequences they entail in reconsidering the mechanics of a given analysed
system. Likewise, microhistory works by means of the recollection of hints, like
pieces of a puzzle, tirelessly looking for an ungraspable, complex image or system.
Installation view: FormContent, Gasworks, London, United Kingdom. 2010.
Installation view: FormContent, Gasworks, London, United Kingdom. 2010.
Installation view: Casa Vecina, Mexico City. 2010.
Installation view: LISTE 16, Basel, Switzerland. 2011.
Jorge Satorre (1979)
Caballo 1
2010
Lápiz sobre papel | Graphite on paper
29.7 x 21 cm (11.69 x 8.27 inches)
39.6 x 30.8 cm con marco (15.59 x 12.13 inches framed)
(Inv# JS 17)
Caballo 1
2010
Selección de una serie de dibujos hechos de memoria de sitios en ciudades que he visitado,
en donde la primera actividad o contacto con el lugar y su gente haya sido bailar.
El título del proyecto viene de un término que se utilizaba en los maratones de baile en los
años 30 en Estados Unidos. Así es como se le llamaba a todo competidor que lograba superar
las 500 horas continuas sin parar de bailar.
Selection of a sequence of drawings made up from the memory of spaces in cities he visited,
in which the first activity or contact with the place and it’s people was dancing.
The title of the project derives from a word which was used in the dancing marathons in
the 1930s in the USA. That’s how they called each competitor who exceeded 500 hours of
continious dancing.
Caballo 2
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 18)
Caballo 2
2010
continious dancing.
Caballo 3
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 19)
Caballo 3
2010
continious dancing.
Caballo 4
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 20)
Caballo 4
2010
continious dancing.
Caballo 5
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 21)
Caballo 5
2010
continious dancing.
Caballo 6
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 22)
Caballo 6
2010
continious dancing.
Caballo 7
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 23)
Caballo 7
2010
continious dancing.
Caballo 8
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 24)
Caballo 8
2010
continious dancing.
La clase de dibujo | The Drawing Class
2010
2 Dibujos: 15 x 21cm c/u (2 drawings: 5.91 x 8.27 inches each)
29 x 35 cm con marco (11.42 x 13.78 inches framed)
(Inv# JS16)
Exhibición:
The Circulating actions of Things. Bard College, Annandale-on-Hudson, curada por Manuela
Moscoso. Nueva York, Estados Unidos. 2011
2010
2010
The Visit
2010
320 drawings traded to slides
(Variable dimensions)
(Inv# JS 15)
Exhibited:
La verdad divina, LABOR, 2010.
The Visit
2010
The Visit is a selection of almost 400 sketches made by 100 tattoo artists both professional
and amateur, and presented as a diaporama. The sketches were based on the oral description
of the 4 tattoos artist Lawrence Weiner has on his body.
These images are a conclusion and an illustration of an epistolary exchange held with
Weiner, the result of an invitation from the Swiss tattoo magazine, Sang bleu, to produce
an artistic work for its publishing. The basis for this conversation was the way Weiner
uses tattoos in his work to deal with the conflict implicit in his conviction that context
does not exist. This conviction is confronted with the important role the imagination of
the spectator plays in the construction of his work.
The Erratic. Measuring Compensation
2009-2010
3 drawings, diagram, piece of stone and plaster stone
Diagram: 57 x 44 cm (22.44 x 17.32 inches) Framed 64.5 x 51.5 cm (25.39 x 20.28 inches)
Stone: 4 x 17 x 11 cm (1.57 x 6.69 x 4.33 inches)
Plaster stone: 70 x 120 x 35 cm (27.56 x 47.24 x 13.78 inches)
3 drawings:
1. 29.7 x 21 cm (11.69 x 8.27 inches)
2. 29.7 x 21 cm (11.69 x 8.27 inches)
3. 29.7 x 42 cm (11.69 x 16.54 inches)
(Inv# JS 12)
Exhibited:
The Erratic. Measuring Compensation.
2009-2010
In September 2008 the port of Rotterdam (Maasvlakte), the largest in Europe, underwent a
dramatic transformation based on a plan of extending its land 20% of its original size. It
is estimated that when this project is finished, a total of 5 million tons of stone would
have been bought and transported from Scandinavia for the construction of dikes and dams.
Coincidentally, the few stones that can be found in Holland were almost entirely brought
from this region thousands of years ago due to glacial movement. These stones are known as
“erratic stones”.
A search for an “erratic stone” was organized at the same time as construction began on
Maasvlakte, both as a symbolic gesture and a critique of the effectiveness and significance
of ecological compensation programs. Finally, an approximately three and half-ton stone was
found in a farm near the town of Erica, close to Emmen, Holland. A geologist analyzed it to
determine its place of origin. Once this information was confirmed, the stone was moved and
then abandoned in a forest in southern Sweden in January 8th 2010.
The event was registered following a method used in archeology when a site with a prehistoric
megalith, particularly those known as hunebedden, is discovered. The method consists in
locating the holes left by the stones, filling them up with plaster or concrete, and then
leaving them buried in the ground as a mark.
La verdad divina (Piaxtla indiciaria)
2009-2010
Lápiz sobre papel y guión fotocopiado | Graphite on paper and photocopied screenplay
352 dibujos negros 18 x 24 cm (7.09 x 9.45 inches) c/u enmarcados
52 dibujos de viaje 21 x 29.5 cm (8.27 x 11.61 inches) c/u
Guión fotocopiado tamaño carta
(Inv# JS 28)
Exhibited:
La verdad divina (Piaxtla Indiciaria)
2009-2010
LA VERDAD DIVINA (PIAXTLA INDICIARIA) es un proyecto de largo recorrido planteado como una
cadena de interpretaciones a la manera de un laboratorio de experimentación hermenéutica.
Basado en la idea de trasladar la interpretación de una realidad social concreta a un nivel
de subjetividad extremo a partir de la intrusión de distintos referentes del artista. Los
dibujos velados presentes en la exposición son el eslabón que concluye este proceso.
El método llevado a cabo consistió en reunir a un grupo de ilustradores dirigidos por Jorge
Aviña, a interpretar por medio de dibujos, a partir de la narración oral de Satorre, un texto
de manera fragmentada durante aproximadamente dos meses y medio.
El texto en cuestión es un guión cinematográfico titulado El cuarto camino escrito por el
novelista Élmer Mendoza basado en la trama de la película de corte absurdista Two-Lane
Blacktop (Monte Hellman, 1971) y una serie de notas y dibujos, realizados previamente por
Satorre. La documentación en la que se basó Mendoza, contenida en la mesa que acompaña los
dibujos velados, constituye el total de las fases previas:
-Una estancia de un mes en el pueblo de Piaxtla, Puebla, el cual se encuentra en peligro de
desaparición por la constante emigración de su población a Estados Unidos.
-Realización de una serie de dibujos basados en mitos y leyendas contadas por gente del
pueblo.
-La participación de habitantes de Piaxtla analizando la película Two Lane Blacktop (Monte
Hellman 1971)
-Un viaje en coche desde el pueblo hasta Nueva York incorporando en la ruta el paralelismo
existente entre la carrera de coches que protagoniza la película y el trayecto de Maurilia
Arriaga, primer piaxteca en emigrar en 1952.
Conforme se iban realizando los dibujos a partir de los fragmentos de esa película en
potencia escrita por Mendoza, en el momento en que la imagen resultante satisfacía al
grupo, procedían a oscurecerlos casi totalmente. Entendiendo que las intenciones radicaban
en el proceso de interpretación y no en el resultado de ella o valor funcional/didáctico
comúnmente asociado a un storyboard. De esta manera, la razón del trabajo radica en el
esfuerzo mental por posicionarse de forma grupal en la construcción de esa película no
realizada. La serie resultante de dibujos “en tinieblas”, como si se tratara de una película
velada, funciona idealmente sólo como un indicio del largo proceso. Permitiendo así que la
cadena interpretativa que dio pie a este trabajo se torne infinita, siguiendo su curso en
cada uno de los posibles lectores de El cuarto camino.
La verdad divina (Piaxtla Indiciaria)
2009-2010
THE DIVINE TRUTH (INDICIARY PIAXTLA) is a long journey-project presented as a chain
of interpretations in the spirit of a hermeneutic laboratory. It is based on the idea
of transposing the interpretation of a specific social reality to an extreme level of
subjectivization based on the intrusion of different referents from the artist. The veiled
drawings included in the exhibition are the link that conclude this process.
The divine truth (evidentiary Piaxtla) was carried out by a group of illustrators gathered
by Jorge Aviña. Its purpose was to interpret a text, in fragments, by means of drawings
based on Satorre’s oral narration. The process lasted two and a half months.
The text under discussion is a film script entitled El cuarto camino, written by novelist
Élmer Mendoza. The absurdist film Two-Lane Blacktop (Monte Hellman, 1971) in combination
with a series of drawings and notes made by Satorre were altogether used as a reference to
develop the above mentioned film script. The documents on which Mendoza based his film,
laying on the table by the veiled drawings, make up for the totality of previous phases.
These phases included:
-A month-long stay in the town of Piaxtla, Puebla, which finds itself in danger of
disappearing due to the constant emigration of its population to the United States.
-A series of drawings based on the myths and legends told by the people of Piaxtla.
-The participation of the people of Piaxtla in the analysis of the film Two Lane Blacktop
(Monte Hellman, 1971).
-A journey by car from Piaxtla to New York establishing a parallel between the car race in
the film and the journey of Maurilia Arriaga, the first Piaxteca to emigrate in 1952.
Once the drawings based on the fragments of that potential film written by Mendoza were
finished and when the resulting images were approved by all they were darkened almost
completely. The focus was the process of interpretation, not its result or the functional/
educational value commonly associated with storyboards. Thus, the idea behind the communal
work was the mental effort to take up a stance in the collective construction of that notyet-made film. The resulting “darkened” drawings, considered as a veiled film, ideally work
only as a trace or an indication of the long process. This allowed the interpretative chain
that gave birth to this work to become infinite as it followed its course through each of
the possible readers of El cuarto camino.
La part maudite illustrée (La parte maldita illustrada)
2010
Mixed media: 33 bases de offset y 90 pinturas de gouache sobre madera |
Mixed media: 33 offset plates and 90 gouache on wood paintings | Techniques
mixtes: 33 plaques offset et 90 gouaches sur bois
Gouaches: 21 x 14.8 cm c/u (Gouaches: 8.27 x 5.83 inches each)
(Inv# JS 13)
Exhibited:
“The Indirect Gaze”, Le Grand Café, Saint-Nazaire, France. 26 June – 21 August 2010
FIAC 2011. París, Francia.
La part maudite illustrée
2010
(La parte maldita illustrada)
Saint Nazaire es conocida por contar con el astillero que hasta la fecha construye
los barcos más grandes del mundo. Al final de la segunda guerra mundial, fue
bombardeada y destruida en un 90% y en la década de 1950 la ciudad fue reconstruida
casi totalmente.
En 1949 George Bataille publicó un ensayo filosófico de teoría económica titulado
La parte maldita, el cual fue poco apreciado en su tiempo por el enfoque místico de
sus planteamientos. En él, Bataille reivindica la importancia del gasto improductivo
en un sistema económico normalmente ligado simplemente a un proceso de producción
y consumo. Propone que toda sociedad produce un excedente de bienes que tiene que
ser dilapidado, entendiendo esto como un factor inherente en el proceso evolutivo
de la misma. Durante el desarrollo del libro, el autor analiza diversos ejemplos
como son: los sacrificios humanos en el imperio azteca, el derroche y destrucción
en las guerras, la ostentación del lujo, el potlacht, la condena de la limosna en
el calvinismo, etc.
El libro antes citado sirvió como base para establecer una serie de conexiones
con la historia de la ciudad. Principalmente con el hecho de que St Nazaire haya
sido fundada a partir de la necesidad de mano de obra para la construcción de
un artefacto tan particular como lo es un barco. Y sobretodo, con el increíble
despliegue de energía, organización de trabajo y materia prima que se requiere
para construir tal producto, confrontándolo con la paradoja de ser una de las pocas
cosas creadas por el hombre que difícilmente pueden ser conservadas por un largo
período de tiempo. A excepción de contados casos, ya sea por incendio, hundimiento
o desguace, un barco está condenado a desaparecer relativamente pronto.
El trabajo se concretó proponiendo una reedición ilustrada de La parte Maldita.
Las imágenes provienen de una especie de inventario personal de todos lo barcos
construidos en St Nazaire de los que logré encontrar pruebas de su desaparición.
Las pinturas fueron hechas por Jorge Aviña, un ilustrador experto en áreas tan
diversas como la novela policiaca y el dibujo científico, partiendo de datos y
descripciones encontrados en documentos de la ciudad. La estética y formato se
inspiró en las postales que se acostumbraban imprimir a principios del siglo pasado
cuando un barco era finalizado y partía del puerto.
La producción del libro se detuvo intencionalmente justo antes ser impreso,
conservando simplemente las placas de offset con el layout de la publicación. Siendo
así un libro en potencia, manteniendo finalmente la asociación entre Bataille, St
Nazaire y Satorre, como algo casi personal del artista.
* La part maudite illustrée fue realizado a partir de una invitación del centro de
arte contemporáneo Le grand café en la ciudad de St. Nazaire en Francia a proponer
y desarrollar un trabajo en relación a la historia del sitio.
La part maudite illustrée
2010
(La parte maldita illustrada)
Saint-Nazaire is known for having a shipyard that continues to produce the largest
ships in the world. By the end of the Second World War, 90% of the city was bombed
and destroyed and in the 1950s, the city was reconstructed almost in its entirety.
In 1949, Georges Bataille published a philosophical essay on economic theory
entitled The Accursed Share - fairly unappreciated at the time due to its mystical
undertones. In the book, Bataille argues for the importance of expenditure in an
economic system habitually linked to a simple process of production and consumption.
He proposes that all of society produce an excess of goods to be destroyed,
understanding this as an inherent factor in the evolutionary process of society
itself. Over the course of the book, the author analyzes various examples; human
sacrifice in the Aztec empire, waste and destruction in wars, luxury, potlatch,
the condemnation of begging in Calvinism, and so on.
Bataille’s book served as the basis for establishing a series of connections with
the history of the city. In particular, the fact that Saint-Nazaire was founded
out of the need to support the construction of an artifact as particular as the
boat. And above all, with the incredible burst of energy, labor and raw materials
required to build such a commodity, which ironically is one of the few things
created by man that can hardly be preserved for a long period of time. Except in
rare cases, either by fire, sinking or scrapping, a ship is doomed to disappear
relatively quickly.
The work was conceptualized by proposing an illustrated remake of The Accursed
Share. The images come from a kind of personal inventory of all the boats built
in Saint-Nazaire where the artist could find evidence of their disappearance.
The paintings were made by Jorge Aviña, an artist who produces illustrations for
everything from detective stories to scientific drawings based on descriptions
found in documents found in the city. The postcards - printed in the early twentieth
century when a ship was finished and left the port - inspired the aesthetic and
format of the work.
The production of the publication was detained just before printing, conserving
only the offset plates with the layout of the publication. Thus the book is a
potential work, which associates Bataille, Saint-Nazaire and the subjective vision
of Jorge Satorre.
* La Part maudite illustrée was the result of a residency from the contemporary art
center Le Grand Café in Saint-Nazaire (France) where Jorge Satorre has to produce
a site-specific work.
La intención general (The General Intention)
2009
Hoja de apoyo enmarcada y dibujos ocultos | Framed support sheet and hidden drawings
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS Carpeta 9)
2009
Durante el mes de Septiembre del 2006 realicé un viaje a Los Angeles, Ca. en búsqueda de
detalles, rastros y secuelas en torno al mítico performance Shoot realizado en 1971 por
Chris Burden. La mezcla de escaso registro documental en sus acciones, la selección de
testigos, el paso del tiempo y los rumores suscitados provocó un tipo de trabajo que hasta
la fecha se difunde primordialmente de modo legendario.
A partir de la experiencia en Los Angeles, produje el trabajo titulado National Balloon cuya
documentación consta de dibujos y fotografías.
Desde hace algunos años, siempre que tengo que realizar un viaje largo, acostumbro pedirle
a un amigo cercano o a una persona con la que me siento muy identificado que decida cuál o
cuáles serán los libros que leeré en el camino. En esa ocasión, la artista Dora García fue
quien determinó mi lectura durante mi permanencia en Los Angeles. Me pidió que el cuento La
figura de la alfombra de Henry James fuera el único texto que leyera durante esos días.
El relato cuenta la historia de un par de jóvenes críticos literarios al verse envueltos en
una obsesiva búsqueda por descubrir un mensaje oculto en la obra de su escritor preferido.
Todo comienza cuando uno de ellos se entrevista con el autor y éste le revela que hay algo
implícito en la totalidad de sus libros, un secreto en donde se condensa la esencia de sus
intenciones como escritor.
Después de algunos años, uno de los muchachos logra descifrar el enigma pero muere antes de
poder confesárselo a su colega, dejando como única depositaria a su esposa. Esta se niega
rotundamente a revelarlo hasta que finalmente ella también fallece.
Durante y después de mi estancia en Los Angeles realicé algunos dibujos basados tanto en el
relato de James como en la obra de Dora García, los cuales no incluí como parte de National
Balloon. Estos dibujos descartados nunca han sido ni serán mostrados.
Lo único que finalmente he decidido sacar del sobre donde están conservados es la hoja en
blanco que protege las ilustraciones, misma que utilicé en su momento para apoyar mi mano
al dibujar la serie.
2009
During September of 2006 I traveled to Los Angeles, CA. in search of details, traces and
effects related to the mythical performance of Shootcarried out in 1971 by Chris Burden.
The mix of scarce documentation of his actions, the selection of witnesses, the passing
of time, and the rumors aroused, provoked a type of work that to this day is spread in a
legendary way.
After this experience in Los Angeles, I produced the work entitled National Balloon, whose
documentation consists of drawings and pictures.
Since a few years ago, whenever I have to take a long trip, I usually ask a close friend or
someone with whom I strongly identify to dedicate which book or books I shall read along the
way. On this occasion, the artist Dora García was the one who determined my reading during
my stay in Los Angeles. She asked that the short story The Figure in the Carpet by Henry
James be the only text that I read during these days.
This tells the story of a couple of young literary critics who find themselves wrapped up
in an obsessive search to discover the hidden message in the work of their favorite writer.
All of this begins when one of them interviews the author who reveals that there is something
implicit in the totality of his books, a secret in which the essence of his intentions as
a writer are condensed.
After a few years, one of them succeeds in deciphering the enigma, but he dies before he
can confess it to his colleague, leaving his wife as the only holder of the secret. She
emphatically refuses to reveal it until she too finally passes away.
During and after my stay in Los Angeles I made several drawings based on James`s story and
on Dora García`s work, which I did not include in National Balloon. These drawings which
were ruled out have never been and will never be shown.
The only thing that I did finally decide to take out of the envelope in which they are
conserved is the white sheet that protects the illustrations, the same one that I used at
that moment to rest my hand while drawing the series.
2009
2009
Mi dolmen (My Dolmen)
2007-2008
Intervención temporal en el Dolmen de Funtanaccia en la isla de Córcega. De esta acción se
conserva como documentación un texto y unos dibujos realizados de memoria meses más tarde.
| Temporary intervention at the Dolmen of Funtanaccia on the island of Corsica. The action
is documented in an essay and in drawings made from memory some months later.
(Inv# JS Carpeta 4)
Mi dolmen (My Dolmen)
2007-2008
Intervención temporal en el Dolmen de Funtanaccia en la isla de Córcega. El trabajo consistió
en la construcción de cinco piedras de papel realizadas con extremo detalle imitando la
textura y las formas de las rocas que conforman el Dolmen de Funtanaccia. Una mañana, la
última de mi estancia en la isla, coloqué las cinco piedras de papel encima y alrededor
del megalito, cambiando la posición de ellas cada determinado tiempo, simplemente para
observarlas. Yo fui el único que presenció la acción. No hubo documentación ese día.
Tres meses después, estando en México, decidí esforzarme en recordar cómo se veía ese
Dolmen rodeado por mis cinco piedras, con lo cual realicé un detallado dibujo. Los otros
dibujos, acompañado de texto, es todo lo que logré recordar durante un día en relación
con mi estancia en Córcega. Las pequeñas imágenes dentro de los círculos representan
vivencias, los óvalos son sueños tenidos en la isla y los rectángulos, referencias
artísticas y literarias.
Ante mi decisión de no entrometerme en la historia de la isla, intenté intervenir
únicamente en la percepción que tenía con respecto al sitio. Y el dibujo que realicé no
es el Dolmen de Funtanaccia, es mi Dolmen.
Temporary intervention at the Dolmen of Funtanaccia on the island of Corsica. The work
consisted of building five paper stones produced in minute detail, imitating the texture
and shapes of the rocks configuring the Dolmen of Funtanaccia, which is near the place where
I was staying. One morning, the last one of my sojourn on the island, I placed the five
paper stones on top of and around the megalith, changing their position every so often,
simply to observe them. I was the only one who witnessed the action. No documentation was
made that day.
Three months later, in Mexico, I decided to do my utmost to remember what the Dolmen looked
like surrounded by my five false stones, and then I made a detailed drawing. The other
drawing accompanied by text is all I managed to remember during one day in connection
with my sojourn in Corsica. The small images inside the circles represent experiences,
the ovals are dreams I had on the island and the rectangles are artistic and literary
references.
Before my decision not to meddle in the history of the island, I tried to intervene only
in my perception of the place. And the drawing I made is not the Dolmen of Funtanaccia
but my Dolmen.
The Barry’s Van Tour
2007
DVD, monochannel en loop, storyboard, documentación y texto | DVD, loop monochannel,
storyboard, documentation and text
13’33’’
(Inv# JS Carpeta 1)
The Barry’s Van Tour
2007
Proyecto realizado en colaboración con la comunidad de Sherkin, una pequeña isla de
90 habitantes en West Cork, Irlanda. El protagonista de este trabajo es Barry, un
joven pescador muy querido en la isla que murió de manera prematura en el año 2002.
Desde el día de su muerte, la furgoneta que utilizaba para desplazarse dentro de
Sherkin ha permanecido aparcada en el sitio donde él la dejó, con sus utensilios
de pesca dentro, su taza de café y las llaves puestas.
El vehículo sería llevado al desguace dentro de pocos meses debido a su alto
grado de deterioro. Durante los últimos años, la familia de Barry y la comunidad
en general habían impedido que la furgoneta fuera retirada, siendo así el coche
abandonado más antiguo de Sherkin. Esa repentina pérdida de funcionalidad y el
valor especial que los habitantes de la isla le dieron a la furgoneta, llevó a
hacer de ella un espontáneo monumento local muy importante.
El proyecto consistió en organizar un equipo de trabajo que incluía básicamente
amigos, familiares y conocidos de Barry. Con ellos organicé el desplazamiento de la
furgoneta, primero en grúa y luego en barco, hasta el taller mecánico más cercano.
Durante un mes se reparó de manera básica el motor, se reconstruyó el chasis, se le
colocaron frenos nuevos y se le cambiaron las ruedas para poder echarla a andar y
volver sin necesidad de ser remolcada hasta el lugar donde estuvo aparcada durante
los últimos cinco años. Pocos días después la furgoneta fue retirada y llevada al
desguace.
Project made in collaboration with the community of Sherkin, a small island of
ninety inhabitants located in West Cork, Ireland. The main character in this work
is Barry, a young fisherman well loved on the island who died five years ago. Since
the day of his death the van he used to travel around the island remains parked on
the site where he left it, with his fishing utensils, his coffee mug and the keys
still inside.
A few months later, on account of its dilapidated condition, the van was to be taken
to the scrapyard. Over the past few years, Barry’s relatives and the community
had prevented its removal from the island, as a result of which it had become
the oldest abandoned vehicle on Sherkin. Its sudden loss of functionality and the
special meaning that the van had acquired in the eyes of the community turned the
vehicle into a spontaneous meaningful local monument.
The project consisted in several stays on the island over a five-month period
in order to gain the confidence of its inhabitants. I eventually set up a work
team that basically included Barry’s relatives, friends and acquaintances, with
whom we planned moving the van, with the help of a tow truck and a boat, to the
nearest garage. For about a month basic repairs were carried out on the engine and
the chassis, new brakes were fitted and the tyres were changed so it could start
running and return to its original site on the island without having to be towed.
A few days later the van was taken to the scrapyard.
El encuentro (The Encounter)
2007
17 dibujos en papel y proyección a tiempo real | 17 drawings on paper and real time video.
21 x 14.5 cm c/u (8.27 x 5.71 inches each)
(Inv# JS Carpeta 5)
El encuentro (The Encounter)
2007
El Encuentro consiste en la realización ininterrumpida durante una noche de una
serie de ilustraciones tomando como punto de partida el razonamiento absurdo de
la novela La caída de Albert Camus. La larga duración de mi presentación hizo
prácticamente imposible la apreciación entera del evento, dando más importancia al
esfuerzo obstinado y mecánico en sí que a un posible resultado final.
Las imágenes son libres interpretaciones provenientes de experiencias y referentes
personales, haciendo énfasis en los conceptos morales recurrentes en la obra
general de Camus como son culpa, justicia, libertad, suicidio, duplicidad humana,
existencia absurda, etc. Cada una de las ilustraciones representa los pliegues
encontrados en toda lectura, donde autor, personajes y lector se cruzan y dialogan
a partir de ese proceso en donde sus respectivas personalidades se desdoblan para
coincidir en una misma experiencia.
Durante el evento, una pequeña cámara de vídeo registraba mi mano dibujando al
mismo tiempo que se proyectaba en tiempo real en un muro de la misma sala.
The Encounter consists of the uninterrupted making of a series of illustrations
during one night, taking as a point of departure the absurd reasoning of the novel
The Fall by Albert Camus. The long duration of my presentation made appreciation of
the entire event practically impossible, granting more importance to the obstinate
and mechanical effort in itself than to a possible end result.
The images are free interpretations of references and personal experiences, placing
emphasis on recurrent moral concepts in the work of Camus, such as sin, justice,
freedom, suicide, human duplicity, absurd existence, etc. Each illustration is
a representation of those moments in reading when author, characters and reader
meet and engage in dialogue starting from the process in which their respective
personalities split and coincide in one and the same experience.
During the event, a small video camera recorded my hand drawing, which was
simultaneously projected in real time on a wall in the same hall.
National Balloon
2006
46 dibujos y 13 diapositivas en bucle | 46 drawings and 13 looped slides
21 x 30 cm (8.27 x 11.81 inches)
(Inv# JS Carpeta 3)
National balloon
2006
Durante el mes de Septiembre del 2006 realicé un viaje a Los Angeles, Ca. en búsqueda de
detalles, rastros y secuelas en torno al mítico performance Shoot realizado hace 35 años
por Chris Burden.
El 19 de noviembre de 1971 el artista Chris Burden realizó la performance Shoot en la
galería F-Space en Santa Ana, California. La obra consistió en pedirle a un amigo suyo que
le disparara en el brazo izquierdo con un rifle de calibre 22. De ese evento sobrevive una
grabación de 8 segundos de duración y unas pocas fotografías.
Burden en sus primeras performances dejó muy en claro lo que él llamaba audiencias primarias
y secundarias, las primeras eran aquellas que presenciaban el acto y las segundas las que
lo habían leído o escuchado. La mezcla de escaso registro documental en sus acciones, la
selección de testigos, el paso del tiempo y los rumores suscitados provocó un tipo de
trabajo que hasta la fecha se difunde primordialmente de modo legendario.
Esa performance y sus secuelas fueron la base para desarrollar el trabajo que ahora presento.
Mi intención era buscar maneras de saltar simbólicamente mi papel de espectador ausente,
pasivo y lejano por medio de la recuperación de ese evento citado utilizando mi propia
experiencia; convirtiéndome así de forma figurada ytemporal en espectador presencial.
El proyecto comenzó con la simple intención de mantener una conversación-entrevista con el
mismo Burden pero fue evolucionando al ir virando poco a poco mi atención hacia todos los
elementos encontrados en el complicado proceso de convencimiento al artista. Finalmente
llegó un punto donde, sin perder de vista el objetivo inicial, estos elementos recopilados
en cada uno de los encuentros con personas allegadas a esta historia, la información
recabada, la visita a lugares relacionados y el mismo viaje que hice con motivo de esta
búsqueda se volvieron los ingredientes del trabajo. Por lo tanto National Balloon no sólo se
basa en Shoot sino también en sus diversas secuelas, en los rastros que han quedado, en las
interpretaciones creadas y en las respuestas posteriores a estas por parte del artista.
El título del proyecto está basado en el nombre de la empresa dedicada a la venta e impresión
de globos que actualmente se ubica en lo que hace años era el F-Space. Siempre tuve la
intención de visitar ese lugar pero no imaginé que encontrar un documento o persona que
me pudiera dar una pista de su ubicación fuera tan difícil. Esta complicación sumada a
las posteriores negociaciones para lograr acceder a la empresa hizo que la importancia de
conocerla fuera creciendo.
Después de varios intentos conseguí ganarme la confianza de su dueño, Gray, para que me
permitiera recorrer el interior del local y concederme el tiempo necesario para relatarle
lo que había sucedido ahí hace 35 años. La conversación que mantuvimos me dejó ver que ese
encuentro había despertado en él una gran curiosidad; imaginé que a partir de ese día, la
idea que Gray tendría de ese sitio no sería la misma así como también me di cuenta de que
mi lectura de Shoot había cambiado. Esos días de viaje y todos los elementos encontrados se
habían relacionado indisociablemente con el vídeo, las fotos y textos que conocía acerca
de la performance.
La documentación que quedó de esta experiencia consta de algunas fotografías tomadas durante
mi exploración en National Balloon así como una selección de 44 dibujos de sitios, recuerdos,
interpretaciones, conversaciones y personajes involucrados a lo largo de todo el proyecto.
Estas imágenes no pretenden contar una historia de manera lineal, todas ellas constituyen
la documentación subjetiva de una experiencia en torno a un evento concreto.
National balloon
2006
During the month of September of 2006 I made a trip to Los Angeles, California, in search
of details, traces and consequences of the legendary performance Shoot carried out by Chris
Burden thirty-five years ago.
On 19 November 1971, the artist Chris Burden carried out the performance Shoot at the
F-Space Gallery in Santa Ana, California. The work consisted in asking a friend to shoot
him in the left arm with a 22-calibre rifle. All that survives to record this event are an
8-second film and a few photographs.
In his early performances, Burden made the distinction between what he called primary and
secondary audiences very clear: the former were those who witnessed the event, the latter
those that heard or read about it. The combination of this lack of documentation on the
performances, his selection of witnesses, the passing of time and the rumours they awakened
brought into being a type of work which has been spread, to date, primarily in the form of
legend.
The performance Shoot and the fallout from it formed the basis for the work I now present. My
intention was to find ways of symbolically overcoming my role as an absent, passive, distant
spectator by using my own experience to recover the performance, becoming, in a figurative
and temporary way, a live spectator.
The project started out with the simple aim of having a conversation or interview with
Burden himself but, as it evolved, my attention strayed more and more towards the elements
that were thrown up during the complicated process of trying to persuade the artist to
agree. I finally reached a point at which, without losing sight of my initial objective,
these elements that I had gathered from all my meetings with people connected to the story,
the information I had compiled, my visits to places associated with the performance and the
very journey I made as part of my quest became the ingredients for my work. For this reason,
National Balloon is based not only on Shoot but also on the fallout from it, the traces that
remain from it, the interpretations that have sprung up and the artist’s response to them.
The project’s title is taken from the name of the company which now occupies the premises
that housed the F-Space gallery all those years ago, and which is engaged in printing and
selling balloons. I had always meant to visit this place, but I never imagined that it would
be so difficult to find a document or person that would give me a clue as to its whereabouts.
This complication, added to all the negotiations necessary to visit the company, made it
more and more important to me to go there.
After several attempts, I finally managed to persuade the company owner, Gray, to let me
look around the premises and to grant me the time I needed to tell him what had happened
there thirty-five years before. During our conversation, I saw that he had become most
curious about it all, and I thought that from that day on the place would never again seem
the same to him. I also realised that my own reading of Shoot had changed. The time I had
spent travelling and all the elements I had found had become inextricably related to the
video, the photos and the texts on the performance that I was familiar with.
The documentation from this experience consists of some photographs I took during my
exploration at National Balloon and a selection of forty-four drawings of sites, memories,
interpretations, conversations and people involved over the course of the project. These
images are not intended to tell a story in a linear way; rather, they form the subjective
documentation behind an experience revolving around a specific event.
17-05-06
2006
290 dibujos insertos en Ergo Sum y edición de 20 cuadernos de 290 páginas. Impresión
xerográfica, encuadernación manual | 290 drawings inserted in Ergo Sum and edition of 20
books of 290 pages. Xerographic printing, manual bookbinding.
Dibujos: 29.5 x 21 cm c/u (Drawings: 11.61 x 8.27 inches each)
(Inv# JS Carpeta 6)
17-05-06
2006
Trabajo realizado para la publicación Ergo Sum, un proyecto del artista Erick
Beltrán. La estructura inicial del impreso, la cual fue evolucionando conforme
avanzaba el trabajo, respetaba en cierta medida las secciones clásicas de un
periódico. La parte que se me asignó fue la de deportes.
Justo en los días en que recibí la propuesta de colaboración se difundió en
la prensa la polémica noticia del supuesto arreglo de partidos en el torneo de
fútbol italiano durante la temporada de 2004-2005 en donde estaban involucrados
importantes equipos como la Juventus, el AC Milán, la Fiorentina o el Lazio. En
esas mismas fechas se preparaban los equipos del Barça y el Arsenal para disputar
la final de la Champions League 06.
Mi trabajo consistió en representar dicho partido por medio de dibujos, respetando
la manera en que los directores técnicos de los equipos planean y comunican los
movimientos a sus jugadores justo antes de entrar a la cancha. Este registro se
hizo de una manera extremadamente detallada, desde el primer minuto del partido
hasta el último. En los dibujos se puede ver el recorrido total del balón, los
movimientos de los jugadores implicados en la jugada de ese momento, faltas, fuera
de lugar, amonestaciones y goles.
Work made for the publication Ergo Sum, a project by artist Erick Beltrán. To a
certain degree, Its initial structure, which evolved as the work progressed, observed
the classical sections of a newspaper. I was assigned the sports section.
Precisely at the time when I received the offer to collaborate, the polemical
information about the supposed fixed matches in the Italian football competition
during the 2004-2005 season came to light, implicating major teams such as Juventus,
AC Milan, Fiorentina and Lazio. Around the same dates, the Barcelona and Arsenal
teams were preparing to compete in the final of the 2006 Champions League.
My work consisted of representing that match in drawings, respecting the way in
which the team managers plan the different movements and convey them to their
players just before they enter the pitch. This recording was extremely detailed,
from the first minute of the match till the last, and the drawings show the whole
trajectory of the ball, the actions of the players involved in each move, the
fouls, offsides, cautions and goals.
Windows Blowing Out
2005
DVD, monochannel en loop, 2000 posters | DVD, Loop monochannel, 2000 posters.
6’ 44”
(Inv# JS Carpeta 2)
Erick Beltrán (1974)
Windows Blowing Out
2005
Basándome en una acción realizada en Nueva York en 1976 por Gordon Matta Clark titulada
Windows Blow Out surge la idea y el título para este proyecto, el cual consistió en
la recuperación, de una manera casi teatral, de esta obra referencial a partir de la
construcción de tres ventanas a medida para una vieja casa abandonada cerca del pueblo
de Skibbereen, en West Cork, Irlanda, en donde fui invitado a desarrollar un proyecto. Se
instalaron y se lanzaron piedras contra sus vidrios. Inmediatamente después las ventanas
fueron retiradas dejando la casa en su estado original.
Al recrear el acto original recuperé y asimilé ese proceder simple de Matta Clark, así como
la intención de sustituir un modelo de obra de arte de orientación visual por uno basado en
el mundo del trabajo donde los procesos adquieren especial importancia y primordialmente,
la manera en que esta obra en específico, en la que baso mi propuesta, ha sobrevivido. Me
refiero al carácter legendario adquirido a partir de la mezcla de diversos factores como
es la espectacularidad del evento, la ausencia de testigos y la escasa documentación e
información que se conserva acerca del evento.
The idea for this project is based on an action performed by Gordon Matta Clark in
1976 entitled Windows Blow Out, which consisted in recovering, almost theatrically,
this referential work through the construction of three windows, made to measure, to be
installed in an old abandoned house near the town of Skibbereen in West Cork, Ireland,
where I was invited to carry out a site-specific project. The windows were installed and
then stones were thrown against their panes, after which the windows were removed leaving
the house in its original condition.
By recreating the original act I recovered and assimilated Matta Clark’s simple procedure
and his endeavour to replace the model of a visually oriented artwork with a model based
on the world of labour where processes acquire a fundamental importance. The way this
piece on which I base my proposal has survived is particularly to the point. I’m referring
specifically to the legendary aspect the work has acquired from the combination of
features such as the spectacular nature of the action, the absence of witnesses and the
scarce documentation and information preserved of the event.
Trabajo importante (Important Work)
2004
24 dibujos a tinta sobre papel | 24 drawings ink on paper
21 x 29.7 cm c/u (8.27 x 11.69 inches each)
(Inv# JS Carpeta 7)
Trabajo importante (Important Work)
2004
Durante la última década el barrio de Poblenou en Barcelona se ha visto afectado por un
salvaje plan urbanístico en donde cientos de fábricas y edificios han sido demolidos
para ser sustituidos por lujosos complejos habitacionales y comerciales.
Entre el año 2003 y 2005 mi estudio estaba ubicado en una de las zonas más perjudicadas
del barrio. Mientras colectivos de compañeros artistas se organizaban para manifestarse
en conjunto con las comunidades de vecinos, yo decidí realizar una serie de acciones
personales. Una de ellas fue Trabajo Importante que consistió en recuperar de una casa
demolida cercana una de sus vigas de madera de 4 metros y medio de largo para desplazarla a mi estudio y durante aproximadamente un mes dedicarme a fragmentarla de manera
lenta. El proceso lo registré con una serie de dibujos.
During the last decade the district of Poblenou in Barcelona has been affected by a wild
urban plan where hundreds of factories and buildings have been demolished to be replaced
by luxurious residential and commercial complexes.
Between the year 2003 and 2005 my studio was located in one of the more affected zones
of the district. While collective of artists organized themselves to pronounce altogether with neighbor communities, I decided to carry out a series of personal actions.
One of them was Important Work that consisted in recovering from a demolished house near
of my studio one of it wood beams and, during approximately a month, I fragmented it in
a slow way. I registered the process with a series of drawings.
Los negros II (Ladrillos) | The Blacks II (Bricks)
2012
Marcador y lápiz sobre papel, ladrillo y cemento | Marker and pencil on
papel, brick and cement
1/1 fragmentos de ladrillo | 1/1 brick fragments
4 obras enmarcadas (dibujos) | 4 framed works (drawings)
1: obra enmarcada integrada por 4 dibujos
9 x 14 cm (3.54 x 5.51 inches) c/u
25.5 x 35.5 x 13.5 cm (10.04 x 13.98 x 5.31 inches framed)
2: Dibujo a color 28 x 35.5 x 13.5 (11.02 x 13.98 x 5.31 inches)
35 x 42.5 x 3.5 cm con marco (13.78 x 16.75 x 1.38 inches framed)
3: Dibujo a color 28 x 35.5 x 13.5 cm (11.02 x 13.98 x 5.31 inches)
35 x 42.5 x 3.5 cm con marco (13.78 x 16.73 x 1.38 inches framed)
Jorge Satorre
México D.F., 1979
Próximas exhibiciones y residencias
Ir para volver. 12a Bienal de Cuenca. Cuenca, Ecuador (cur. por Jacopo
Crivelli Visconti)
Una máquina desea instrucciones como un jardín desea disciplina. Frac
Lorraine. Metz, France/ MARCO. Vigo. España
Educación - Programas de artista en residencia
-
Casa Vecina. Ciudad de México. 2011
Gasworks. Londres. Reino Unido. 2010
Le Pavillon. Palais de Tokyo. París, Francia. 2007-08
ARP. Irish Museum of Modern Art. Dublin, Irlanda. 2007
HANGAR. Barcelona. España. 2003-05
Universidad Autónoma Metropolitana-Azc. Ciudad de México. Licenciado en
Diseño de la Comunicación gráfica. 1997-2001
Exhibiciones individuales
2014
2013
2012
2011
2010
2009
2008
2007
2006
El retroceso. Galería LABOR. México D.F., México
Halfhouse. Barcelona, España
Zona Maco Sur. México DF. (comisariado por Patrick Charpenel)
Art Basel Miami. Art positions. Miami, Estados Unidos
La Part Maudite Illustrée. FIAC. París, Francia
Modelling Standard. Casa Vecina (con Erick Beltrán). México D.F.
La Verdad Divina. Galería LABOR. México D.F.
Modelling Standard. FormContent (con Erick Beltrán). Londres,
Inglaterra
The indirect gaze. Le Grand Café. St. Nazaire, Francia
Centro Cultural Montehermoso Kulturunea (Arte e investigación 09).
Vitoria, España
ARCO. Madrid, España
The Happy Failure. Galerie Xippas. París, Francia
The Barry’s Van Tour. West Cork Arts Centre. Skibbereen, Irlanda
The Happy Failure. The process room. Irish Museum of Modern art.
Dublín, Irlanda
Ejercicios. La Casa Encendida. Madrid, España
Exhibiciones colectivas
2013
Sin Motivo aparente. CA2M. Móstoles, Madrid. España (comisariado por
Javier Hontoria)
2012
1ª Bienal de Montevideo. Uruguay (comisariado por Alfons Hug)
Prairies. Les Ateliers de Rennes. Rennes, Francia (comisariada por
Anne Bonnin)
L'Homme de Vitruve. Le Crédac. Ivry. Francia (comisariada por Claire
Le Restif)
L'archéologie, un mythe contemporain. La Tolerie. Clermont-Ferrand.
Francia (comisariada por Alexandra Fau)
This and there. Fondation d'enterprise Ricard. Paris (comisariada por
Claude Closky)
Resistiendo el presente. Musée d'Art moderne de la Ville de Paris/ARC.
París (comisariado por Angeline Scherf y Ángeles Alonso Espinosa)
Pobre artista rico. Casa del Lago. México DF. (comisariado por Willy
Kautz)
Un ojo, dos ojos, tres ojos. Casa Vecina. México DF. (comisariado por
Uqbar)
Anomalia. University Art Gallery UCSD. San DIego, Ca. (comisariado por
Lucía San Roman)
2011
Modelling Standard. Galería Joan Prats. Barcelona. (exposición
colectiva comisariado por Jorge Satorre y Erick Beltrán)
Inserting new considerations into the historical narrative, the
institution and the audiences. Plevnik Kronkowska Gallery.
Celje, Eslovenia. (comisariado por Juan de Nieves)
Resistiendo el presente. Museo Amparo, Puebla. México. (comisariado
por Angeline Scherf y Ángeles Alonso Espinosa)
Robert Smithson in Emmen - Broken Circle/Spiral Hill Revisited The
Ultraperiferic. CBK, Emmen. Holanda (comisariado por Theo
Tegelaers)
La cuestión del paradigma. La Panera. Lleida. España (comisariado por
Manuel Segade)
Seres inanimados. La Casa Encendida. Madrid (comisariado por Bárbara
Rodriguez)
5x5 Premio internacional de arte contemporáneo Diputación de
Castellón. EACC. Castellón. España (seleccionado por Dora García)
Fat chance to dream. Galería Maisterra Valbuena. Madrid
(comisariado por Tania Pardo)
The circulating actions of things. Bard College. Annandale-onHudson. New York (comisariado por Manuela Moscoso)
Songs of the Swamp. Kunsthalle Exnergasse. Viena. Austria.
(comisariado por Hilary Koob-Sassen)
2010
Antes que todo…CA2M. Móstoles, Madrid. Spain (comisariado por Manuela
Moscoso y Aimar Arriola)
Portscapes. Museum Boijmans van Beuningen. Rotterdam. Holanda.
(organizado por SKOR y comisariado por Latitudes y Theo Tegelaers)
The mole’s horizon. Bozar. Bruselas, Bélgica (comisariado por Ruth
Estevez)
Programa Bancomer-MACG-Arte Actual. Museo de Arte Carrillo Gil. México
DF (comisariado por Ruth Estevez e Itzel Vargas)
2009
Instantané (75) : Plus général en particulier, FRAC Pays de Loire,
Carquefou, Francia
Labor, labor. Galería Labor. México DF
Juntos acordaron adelantar el oscurecer. Fundación Sa Nostra. Palma de
Mallorca (comisariado por Patricia Esquivias y Manuela Moscoso)
El Progreso habitado. Museo de Arte Moderno. México DF (comisariado
por Victor Palacios)
2008
Re-Construction. 3th Young Artists’ Biennial. Bucharest. Rumania
(comisariado por Ami Barak)
Down by law. Galerie Crèvecoeur. París (comisariado por Alix Dionot
Morani)
Hacia/Desde México DF. Instituto Cervantes. Estocolmo, Suecia / París,
France (comisariado por Marti Manen)
Palimpseste, un bon pre-texte. Galerie Xippas. París (comisariado por
François Quintin)
Aves en la luna, Poéticas de la diferencia y otros lugares
imaginarios. Casa del Lago. México DF (comisariado por Itzel Vargas)
((( ))) Transpalette. Bourges, Francia (comisariado por Fabienne
Fulcheri)
25 Aniversario. Galería OMR. Mexico city
Pavillon 7. Palais de Tokyo. París (comisariado por Judicael Lavrador)
Old News 4. CGAC, Santiago de Compostela; Midway Contemporary Art,
Minneapolis; Museo de Arte Carrillo Gil. México DF (comisariado por
Jacob Fabricius)
2007
Muestra Injuve. Círculo de Bellas Artes. Madrid (comisariado por
Armando Montesinos)
Por favor, gracias, de nada. Reenactments. Casa del Lago. México DF
(comisariado por Victor Palacios)
La noche en blanco (performance). Espacio Cultural Conde Duque. Madrid
(invitado por Manuela Moscoso)
Pleins Phares. Cité de l’automobile, Musée National. Collection
Schlumpf. Mulhouse, Francia (comisariado por Fabienne Fulcheri)
Symposium Banquet (performance). Project Arts Centre. Dublin, Irlanda
(comisariado por Tessa Giblin)
2006
Barcelona Producción. La Capella. Barcelona (comisariado por Valentí
Roma y Amanda Cuesta)
Paperback. CGAC. Santiago de Compostela; MARCO. Vigo; Fundación Luis
Seoane. A Coruña. España (comisariado por Amanda Cuesta)
XLIII Certamen Internacional d’arts plástiques. Museo de Pollença.
Pollença, Mallorca, España
2005
Algunos libros de artista. Galería Projecte SD. Barcelona (comisariado
por Silvia Dauder)
Living Landscape. West Cork Arts Centre. Skibbereen, Irlanda
(comisariado por Therry Rudin)
2004
IV bienal de Vic. Barcelona
Institutional Flirts. FLACC. Genk, Bélgica (comisariado por Steven Op
de Beck)
Trabajos en publicaciones
2011
2009
2008
2007
2006
2004
"El hallazgo del miembro fantasma". Historieta en colaboración con
Erick Beltrán, Gonzalo Martré y Jorge Aviña. Producido por Casa
Vecina.
Número Cero 4. 2da Trienal Poli/gráfica de San Juan: América Latina y
el Caribe. Puerto Rico (comisariado por Magali Arriola)
Piaxtla indiciaria. Revista Roulotte. España
The Visit. Specific project for Sang-bleu magazine. (comisariado por
Emanuelle Antille)
Old news 4. A Jacob Fabricius project (IInvitado por Amanda Cuesta)
National Balloon. La Capella, Barcelona
17-5-2006. Specific work for “Ergo sum”, un proyecto de Erick Beltrán
Trabajo Importante. HANGAR. Barcelona
Premios
Marcelino Botín. España. 2010-11
Cajasol. España. 2009-10
Arte e investigación. Centro Cultural Montehermoso Kulturunea.
Vitoria, España. 2009-10
Programa Bancomer-MACG-Arte Actual, México DF. 2009
Primer premio. Premio Injuve. España. 2007
Beca de formación en el extranjero. Ministerio de Cultura de España.
2007-08
Fondos para creadores en residencia. Departamento de Cultura de la
Generalitat de Cataluña. España. 2007.
Barcelona Producción. La Capella. Barcelona. 2006
Primer premio. Modalidad proyecto. Premio Miquel Casablancas.
Barcelona. 2006
Primer premio. Cuarta Bienal de VI. España. 2004
Jorge Satorre
Mexico city, 1979
Forthcoming exhibitions
XII Bienal Internacional de Cuenca. Ecuador (curated by Manuela Moscoso and
Jacopo Crivelli)
Lorraine. Metz, France (cur. by Catalina Lozano) (Solo)
Education - Artists-in-residence programs (selection)
-
Casa Vecina. Mexico city. 2011
Gasworks. London. UK. 2010
Le Pavillon. Palais de Tokyo. París, France. 2007-08
ARP. Irish Museum of Modern Art. Dublin. Ireland. 2007
HANGAR. Barcelona. Spain. 2003-05
Universidad Autónoma Metropolitana-Azc. Mexico city. Graphic communication
studies. 1997-2001
Solo exhibitions
2014
2013
2012
2011
2010
2009
2008
2007
2006
El retroceso (Recoil). LABOR Gallery. Mexico City, Mexico.
Halfhouse. Barcelona, Spain
Zona Maco Sur. Mexico DF. ((curated by Patrick Charpenel)
Basel Miami. Art positions. Miami
FIAC. Paris
Modelling Standard. Casa Vecina (with Erick Beltrán). Mexico city
(invited by Willy Katz)
Divine truth. Labor Gallery. Mexico city
Modelling Standard. FormContent (with Erick Beltrán). London (curated
by Catalina Lozano)
The indirect gaze. Le Grand Café. St, Nazaire. France (curated by
Sophie Legrandjaques)
Centro Cultural Montehermoso Kulturunea (Arte e investigación 09).
Vitoria, Spain
ARCO. Madrid
The Happy Failure. Galerie Xippas. Paris
The Barry’s Van Tour. West Cork Arts Centre. Skibbereen, Ireland
The Happy Failure. The process room. Irish Museum of Modern art.
Dublín, Ireland
Ejercicios. La Casa Encendida. Madrid
Group exhibitions
2013
Lorraine. Metz, France/ MARCO. Vigo. Spain (curated by Catalina
Lozano)
Sin Motivo aparente. CA2M. Móstoles, Madrid. Spain (curated by Javier
Hontoria)
2012
1st Montevideo Biennial. Montevideo, Uruguay (curated by Alfons Hug)
Prairies. Les Ateliers de Rennes. Rennes, France (curated by Anne
Bonnin)
L'Homme de Vitruve. Le Crédac. Ivry. France (curated by Claire Le
Restif)
L'archéologie, un mythe contemporain. La Tolerie. Clermont-Ferrand.
France (curated by Alexandra Fau)
This and there. Fondation d'enterprise Ricard. Paris (curated by
Claude Closky)
Pobre artista rico. Casa del Lago. Mexico city. (curated by Willy
Kautz)
Un ojo, dos ojos, tres ojos. Casa Vecina. Mexico city. (curated by
Uqbar)
Resisting the present. Musée d'Art moderne de la Ville de Paris/ARC.
Paris (curated by Angeline Scherf and Ángeles Alonso)
Anomalia. University Art Gallery UCSD. San DIego, Ca. (curated by
Lucía San Roman)
2011
Modelling Standard. Galería Joan Prats. Barcelona. (group show curated
by Jorge Satorre and Erick Beltrán)
Inserting new considerations into the historical narrative, the
institution and the audiences. Plevnik Kronkowska Gallery. Celje,
Eslovenia. (Curated by Juan de Nieves)
Resisting the present. Museo Amparo, Puebla. Mexico. (curated by
Angeline Scherf and Ángeles Alonso Espinosa)
Robert Smithson in Emmen - Broken Circle/Spiral Hill Revisited The
Ultraperiferic. CBK, Emmen. Holland
La cuestión del paradigma. La Panera. Lleida. Spain (curated by Manuel
Segade)
Seres inanimados. La Casa Encendida. Madrid (curated by Bárbara
Rodríguez)
5x5 Premio internacional de arte contemporáneo Diputación de
Castellón. EACC. Castellón. Spain (selected by Dora García)
Fat chance to dream. Galería Maisterra Valbuena (curated by Tania
Pardo)
The circulating actions of things. Bard College. Annandale-onHudson. New York (curated by Manuela Moscoso)
Songs of the Swamp. Kunsthalle Exnergasse. Viena. Austria. (Curated
by Hilary Koob-Sassen)
2010
Antes que todo…CA2M. Móstoles, Madrid. Spain (curated by Manuela
Moscoso and Aimar Arriola)
Portscapes. Museum Boijmans van Beuningen. Rotterdam. Holland.
(organized by SKOR and curated by Latitudes and Theo Tegelaers)
The mole’s horizon. Bozar. Brussels, Belgium (curated by Ruth Estevez)
Programa Bancomer-MACG-Arte Actual. Museo de Arte Carrillo Gil. México
city (curated by Ruth Estevez and Itzel Vargas)
2009
Instantané (75) : Plus général en particulier, FRAC Pays de Loire,
Carquefou, France
Labor, labor. Labor gallery. Mexico city
Juntos acordaron adelantar el oscurecer. Fundación Sa Nostra. Palma de
Mallorca (curated by Patricia Esquivias and Manuela Moscoso)
El Progreso habitado. Museo de Arte Moderno. Mexico city (Curated by
Victor Palacios)
2008
Re-Construction. 3th Young Artists’ Biennial. Bucharest. Rumania
(Curated by Ami Barak)
Down by law. Galerie Crèvecoeur. Paris (Curated by Alix Dionot Morani)
Hacia/Desde México DF. Cervantes institute. Stockholm, Suecia / Paris,
France (Curated by Marti Manen)
Palimpseste, un bon pre-texte. Galerie Xippas. Paris (Curated by
François Quintin)
Aves en la luna, Poéticas de la diferencia y otros lugares
imaginarios. Casa del Lago. Mexico city (Curated by Itzel Vargas)
((( ))) Transpalette. Bourges, France (Curated by Fabienne Fulcheri)
25 Aniversario. Galería OMR. Mexico city
Pavillon 7. Palais de Tokyo. Paris (Curated by Judicael Lavrador)
Old News 4. CGAC, Santiago de Compostela; Midway Contemporary Art,
Minneapolis; Museo de Arte Carrillo Gil. Mexico city (Curated by Jacob
Fabricius)
2007
Muestra Injuve. Círculo de Bellas Artes. Madrid (Curated by Armando
Montesinos)
Por favor, gracias, de nada. Reenactments. Casa del Lago. Mexico city
(Curated by Victor Palacios)
La noche en blanco (performance). Espacio Cultural Conde Duque. Madrid
(Invited by Manuela Moscoso)
Pleins Phares. Cité de l’automobile, Musée National. Collection
Schlumpf. Mulhouse, France (Curated by Fabienne Fulcheri)
Symposium Banquet (performance). Project Arts Centre. Dublin, Ireland
(Curated by Tessa Giblin)
2006
Barcelona Producción. La Capella. Barcelona (Curated by Valentí Roma
and Amanda Cuesta)
Paperback. CGAC. Santiago de Compostela; MARCO. Vigo; Fundación Luis
Seoane. A Coruña. Spain (Curated by Amanda Cuesta)
XLIII Certamen Internacional d’arts plástiques. Museo de Pollença.
Pollença, Mallorca, Spain
2005
Algunos libros de artista. Galería Projecte SD. Barcelona (Curated by
Silvia Dauder)
Living Landscape. West Cork Arts Centre. Skibbereen, Ireland (Curated
by Therry Rudin)
2004
IV bienal de Vic. Barcelona
Institutional Flirts. FLACC. Genk, Belgium (Curated by Steven Op de
Beck)
Grants
2010-11
Marcelino Botín.
2009-10
Cajasol grant for art visual projects. Spain.
Art and research. Centro Cultural Montehermoso Kulturunea. Vitoria, Spain.
2009
Programa Bancomer-MACG-Arte Actual, Mexico City
2007-08
Beca de formación en el extranjero. Ministerio de Cultura de España.
2007
First prize. Premio Injuve. Spain.
Fondos para creadores en residencia. Departamento de Cultura de la
Generalitat de Cataluña. Spain
2006
Barcelona Producción. La Capella. Barcelona.
First prize. Project modality. Premio Miquel Casablancas. Barcelona.
2004
First prize. Fourth Vic biennale. Spain.
Saint-Nazaire
Jorge Satorre
The Indirect Gaze
Curator: Sophie Legrandjacques
After being developed during his tenure as an editorial illustrator, Jorge
Satorre’s work recuperates and perverts the methods proper to that field,
wherein the tacit relationships established between creator, story, image and
reader/viewer serve as a point of departure for relating to and intervening
in the places where his work develops.
Jorge Satorre’s way of working, rooted in an evident enjoyment of narrative,
comes from historical and oneiric inquiry, detective work and poetic rereading. The artist lays claim to the freshness of the experimental, foregrounding the research process and effort that it involves. His usual modes of
presentation (drawings, videos, performances) work by suggestion: tools for
recovering a memory rather than faithful documents that would allow an event
or the history of a place to be retraced. They function as subjective attempts
at interpretation and which afford a kind of work that exists based more in
the possibilities of oral communication than in its visual elements.
His drawings and films are thus considered as hybrid receptacles, emotionally
very highly charged, weighing up the phenomena of migration (of populations,
of objects) and mutation (functional and symbolic) that regulate our world.
In Saint-Nazaire Jorge Satorre will renew with his 2010 residence and exhibit
a particular group of works closely tied to the geographical context and the
relationship between the port and its past.
An astronomical method for detecting planets beyond the solar system called
“the indirect gaze” provides the title of the exhibition, as well as of one
of the included pieces. Since such planets are so far from Earth, they could
until very recently only be discovered by studying the subtle variations in
luminosity of stars oscillating nearby. Satorre uses this reference to explain the ways he has approached situations in which he has had to interpret
a place totally unknown to him.
The exhibition includes a review of some of the artist’s most relevant work,
as well as the continuation of a work in progress and two new projects. One
of them, La part maudite illustrée functions as the axis of the group of
work presented. Following a period of research in the city’s archives, he
gathered information with which he created a personal inventory of the ships
constructed in St Nazaire and that have now disappeared. Based on this documentation, a scientific illustrator painted each of these ships in detail,
describing the moment at and way in which they disappeared. These images
were then used in an illustrated reprint of Georges Bataille’s book La part
maudite (The accursed share) that was proposed by the artist. This process
was detained just before printing, based on the idea of a book that remains
only as potential. The offset plates, together with the paintings, constitute
the final presentation of the piece.
Jorge Satorre, Mexico City, 1979. He lives in Mexico and Amsterdam. His work
has been presented in individual shows at: Centro Cultural Montehermoso,
Vitoria (2010); galería Xippas, Paris (2008); Process Room / Irish Museum of
Modern Art, Dublin (2007) and La Casa Encendida, Madrid (2006). He is currently completing a residency at Gasworks, London (project with Erick Beltrán
for FormContent in September).
LE GRAND CAFÉ, Centre d’art contemporain, Saint-Nazaire (F)
Place des Quatre z’horloges, 44 600 Saint-Nazaire – France T + 33 (0)2 44
73 44 00 – F + 33 (0)2 44 73 44 01 [email protected] www.
grandcafe-saintnazaire.fr
9 Oct 2010
Jorge Satorre and Erick Beltrán: Modelling Standard
Review by Maggie Grey
A poster press release at the door to Modelling Standard provides the first
clue that FormContent’s latest exhibition might emphasise the content side of
things. It proclaims the starting points for Jorge Satorre and Erick Beltrán’s
collaboration as Carlo Ginzburg’s concept of the micro-history, and science’s
Standard Model used to explain interactions between sub-atomic particles.
Cerebral stuff, but it’s not at the expense of the visuals. The at-a-glance
effect of Jorge Avina’s comic-like illustrations, which form the physical
content of the exhibition, is eye-catchingly energetic and intricate, and well
matched to the complexity of the show’s ideas. On top of a wealth of pictorial
detail, every image harbours words and phrases. Difficult ones: ‘apophenia’,
‘cognitive neuroscience’, ‘Naegely-Franceschetti-Jadassohn Syndrome’. I decided rather quickly that I should take a little longer over my visit than
planned.
Satorre and Beltrán installed this exhibition in front of an audience, hastily pasting up the paper sheets while constructing and explaining the narratives between them. Their footprints still muddy the occasional image, and
I found myself wishing I could have attended. It might have helped navigate
the resulting, bewildering ‘detective plot’ of references, presented as a
sort of comic book drawing-board. It features a murder (‘Sherlock Holmes vs.
Fantômas’ - a story in which Holmes is the victim), and aspects of detective
investigation: definitions of the perfect crime, notes on the discovery of
the fingerprint and of a physical condition which leaves certain people without one. Fantômas, the perfect villain (so elusive that people do not believe
he exists) is evoked alongside sheets that highlight the fallibility of human
recognition. A host of further scientific and academic theories addressing
the physical, societal and psychological details of our lives are also thrown
into the mix. Fittingly, the main protagonists of the plot are famously great
minds – Freud, Morelli and Arthur Conan Doyle all feature.
I cannot profess to have followed much of this investigative narrative.
Perhaps the artists at the opening reached a more concrete conclusion than
I was able to puzzle out. Perhaps it doesn’t matter: one illustration claims
that the processes of investigation are as important as results. The show illustrates the idea that history should be taken as a set of clues rather than
a series of facts, and that how we interpret these depends on how closely we
look and from what angle. There are some memorable insights to that effect,
my favourite being a comment on scale illustrated by a man battling a foe
whose atoms fly apart to avoid any blow: ‘A model is a metaphor – depending
on the scale you are reading, different particles appear. Form is a choice of
scale.’ Look closely enough at anything and the best part of it becomes the
space between its atoms.

Jorge Satorre

Transcripción

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