{"id":135,"date":"2008-10-22T14:39:36","date_gmt":"2008-10-22T14:39:36","guid":{"rendered":"http:\/\/luisquintero.net\/blog\/?page_id=135"},"modified":"2019-03-06T11:18:05","modified_gmt":"2019-03-06T11:18:05","slug":"tempvs","status":"publish","type":"page","link":"https:\/\/luisquintero.net\/blog\/tempvs\/","title":{"rendered":"TEMPVS"},"content":{"rendered":"

Exposici\u00f3n TEMPVS. Sevilla 2007 Sala Imagen<\/strong><\/em><\/p>\n

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I<\/strong>. En su di\u00e1logo Timeo, Plat\u00f3n expone su teor\u00eda de la formaci\u00f3n del universo y la introducci\u00f3n, por parte del Demiurgo, del concepto \u201ctiempo\u201d como una regularidad ordenadora, dividida en periodos susceptibles de medici\u00f3n como el d\u00eda, la noche, los meses y los a\u00f1os.
\nPara Plat\u00f3n el tiempo es c\u00edclico a semejanza del movimiento circular de las esferas. Tambi\u00e9n el pensamiento griego general asociaba el tiempo con el movimiento circular y entend\u00eda que los asuntos humanos forman un ciclo circular natural en el cual todo se genera y muere. El tiempo se completa con el movimiento y sobre todo con el movimiento vital. La palabra \u201caion\u201d significa tanto \u201ctiempo\u201d como \u201cvida\u201d. La vida se mueve en el ciclo del tiempo.
\nTiempo = Vida.<\/p>\n

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Efectivamente, aunque podamos observar fen\u00f3menos o huellas de su transcurrir, el tiempo es inasible e intangible. Las manifestaciones del tiempo, o mejor dicho las formas en que se manifiesta, han sido motivo de intriga y estudio para los artistas de todas las \u00e9pocas: desde la pintura narrativa\u00a0 en los c\u00f3dices medievales hasta el dinamismo futurista.
\nAl referirnos al concepto tiempo aplicado a la obra art\u00edstica nos llegan o asociamos de manera inmediata varias reflexiones: El periodo de creaci\u00f3n y producci\u00f3n de la obra, la perdurabilidad de la misma y la dimensi\u00f3n temporal que la propia obra pueda sugerir, un momento determinado, un instante o una constancia (contenido art\u00edstico que incumbe al espectador).<\/p>\n

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\nEn el caso que nos ata\u00f1e, se a\u00f1ade una cuarta reflexi\u00f3n, a modo de cuarta dimensi\u00f3n y bajo la concepci\u00f3n plat\u00f3nica antes referida: el tiempo como periodo vital, como etapa de conocimiento o como medida temporal de conciencia (expresado voluntariamente por el artista).
\nVida = Conocimiento.
\nEn el estudio de la obra de Luis Quintero, esta interpretaci\u00f3n del termino -aunque nos centremos principalmente en su escultura- debe hacerse extensible a todas las disciplinas que aborda.<\/p>\n

II.<\/strong> Establezcamos, desde ya, esa correlaci\u00f3n: tiempo = vida = conocimiento Y establezcamos, adem\u00e1s, una \u00faltima relaci\u00f3n que aportar\u00e1 la clave esencial de esta muestra: el simbolismo de la cabeza como receptora tanto del conocimiento como del alma humana. Conocimiento = cabeza.<\/p>\n

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\nDurante milenios la cabeza ha sido considerada centro de poder, el n\u00facleo central de la identidad individual y el veh\u00edculo primario para la expresi\u00f3n humana, la emoci\u00f3n y el car\u00e1cter. Desde la Antig\u00fcedad y a lo largo de la Edad Media se cre\u00eda que el alma resid\u00eda en la cabeza; como articularon desde Plat\u00f3n a Averroes, quienes explican que la cabeza es dominante y divina y hasta all\u00ed sobrevive o reside la muerte (frente a la otra corriente aristot\u00e9lica que favorec\u00eda al coraz\u00f3n como receptor del alma). En la producci\u00f3n de Quintero existen tantas cabezas exentas que podr\u00edan hacer creer que alg\u00fan iconoclasta moderno habr\u00eda pasado por su estudio con violenta e intransigente actitud.<\/p>\n

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Si la visi\u00f3n actual del arte impone un ritmo m\u00e1s practico, m\u00e1s vertiginoso, la propuesta de Luis Quintero es m\u00e1s reflexiva, m\u00e1s quieta, m\u00e1s serena, menos fugaz; por eso apenas hay sonrisas, apenas hay expresiones de momentos determinados o concretos. Esta\u00a0 ausencia de expresividad histri\u00f3nica debe ser relacionada con la representaci\u00f3n de un estado de serenidad, de b\u00fasqueda o de felicidad trascendente; al igual que ocurre en los rostros de las esculturas medievales que representaban santos o personificaciones de conceptos religiosos, cuya expresividad es casi nula a pesar del creciente naturalismo evidente en el arte del periodo g\u00f3tico. Encontramos una similitud hist\u00f3ricamente m\u00e1s cercana en las obras del escultor simbolista Aristide Maillol, cuyas piezas escult\u00f3ricas poseen gran fuerza pero nunca son rebuscadas y apenas expresan emociones m\u00e1s all\u00e1 de una seriedad impasible. \u00bfC\u00f3mo calificar o materializar la sensaci\u00f3n temporal de aquellos que duermen o de quienes se abstraen en un momento de oraci\u00f3n? En el sue\u00f1o, como en la meditaci\u00f3n, el tiempo se detiene.
\nLa obra de Luis no es transitoria, no habla del instante sino de leyes generales de un momento global, de lo valido para siempre. Es una obra meditada y meditativa. Sin pretensiones doctrinales, pues nos acerca tanto al hallazgo definitivo como a la eterna duda -inevitable m\u00e9todo de conocimiento, hoy en d\u00eda descartado por completo de los foros medi\u00e1ticos masivos.<\/p>\n

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La representaci\u00f3n f\u00edsica de la correlaciones anteriormente establecidas se halla en las dos piezas que vertebran el sentido anal\u00edtico de Tempvs. Tanto el nacimiento (Maeternidad) como la muerte ( Caput mortum) est\u00e1n representados por cabezas. Entre ellas, debemos incorporar una tercera pieza -tambi\u00e9n una cabeza- que con el l\u00fadico t\u00edtulo de La Muerte por delante simboliza el intervalo vital. Como representaci\u00f3n de ese viaje aparece, en su interior, un barco. Estas son, realmente, las piezas que dan apertura y cierre a la muestra, las que recogen de manera lineal y narrativa el espacio vital dedicado al aprendizaje como camino, como viaje (v. tambi\u00e9n Infancia) y al conocimiento como meta.
\nCuando ese conocimiento est\u00e1 vac\u00edo o esa meta no ha sido lograda, tambi\u00e9n su representaci\u00f3n aparece vac\u00eda ( Pis, La paz), a modo de vanitas contempor\u00e1nea.<\/p>\n

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\u201cEn el Z\u00f3har, la \u2018cabeza m\u00e1gica\u2019 simboliza la luz astral; en el arte medieval simboliza la mente y la vida espiritual, por cuya raz\u00f3n aparece con gran frecuencia como tema decorativo. Por otro lado en su Timeo, Plat\u00f3n dice: \u2018la cabeza humana es la imagen del mundo\u2019. Leblant ratific\u00f3 esta idea se\u00f1alando que el cr\u00e1neo, como cima semiesf\u00e9rica del cuerpo humano, significa el cielo. Es evidente que se trata de la cabeza y la esfera, cuyo simbolismo de la totalidad es conocido.\u201d (1)<\/p>\n

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III.<\/strong> La obra de Luis Quintero fascina por su capacidad introspectiva -aspecto que acerca nuevamente su trabajo a una concepci\u00f3n simbolista- pues poco nos muestra del mundo exterior (a excepci\u00f3n de la piezas Cadena y Contra Esopo).<\/p>\n

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Y en esa mirada hacia \u201clos bosques del pensamiento\u201d nos habla de deseos, luces y belleza pero tambi\u00e9n de miedos, sombras o dudas. O de todo en uno, pues la belleza en su obra est\u00e1 ligada tanto a lo bello, como a lo sublime como a lo pintoresco. Lo bello, pertenezca a la naturaleza o al arte, es finito, cercano y confiable, es uniforme y proporcionado (Infancia): lo sublime, en cambio, es infinito, distante y atemorizante (La Paz, La Expulsi\u00f3n del Paraiso), lo pintoresco es singular, extra\u00f1o e impulsor de la imaginaci\u00f3n (Edipo, La Puerta del Averno). En esa mixtura reside tanto lo atractivo como lo perturbador de esta obra. Quiz\u00e1s esta afirmaci\u00f3n resulte redundante, pues nada m\u00e1s atractivo que lo que perturba.<\/p>\n

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\nAunque no es el caso que analizamos, creo adecuado traer a colaci\u00f3n el siguiente comentario: \u201cA prop\u00f3sito del arte contempor\u00e1neo se ha hablado muchas veces del fe\u00edsmo y del gusto por lo feo, pero lo propio de los artistas de nuestro tiempo no ha sido tanto crear \u2018obras feas\u2019, cuanto rechazar la disyuntiva belleza-fealdad por no creerla pertinente\u201d (2)<\/p>\n

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\nSon varias las disyuntivas manique\u00edstas de este tipo que Luis Quintero pone en entredicho mediante su trabajo, pues para \u00e9l no existen certezas incuestionables o verdades absolutas -o, al menos, no de momento. As\u00ed debe entenderse la versatilidad t\u00e9cnica de su \u201ccorpus\u201d oper\u00edstico, que, en ocasiones, cuestiona la misma idea mediante planteamientos t\u00e9cnicos y mat\u00e9ricos variados. Este es el resultado de un an\u00e1lisis complejo, de una reflexi\u00f3n profunda que huye de lo superficial, de lo aparente y de lo que se da por v\u00e1lido sin m\u00e1s. Incorporando, de esta manera, el quehacer de este autor en la m\u00e1s pura tradici\u00f3n cl\u00e1sica y, alej\u00e1ndolo -por suerte- del vacuo signo de los tiempos actuales. Esta capacidad reflexiva se une a un conocimiento del medio. Definitorios y descriptivos resultan, en este sentido, el oficio bien aprendido y el virtuosismo que despliega en cada una de sus piezas escult\u00f3ricas; cualidades artesanales que desmarcan cualitativamente el trabajo de Quintero del de la mayor\u00eda de escultores de su generaci\u00f3n.<\/p>\n

\"\"<\/a>\"\"<\/a>\"\"<\/a><\/p>\n

IV.<\/strong> No quisi\u00e9ramos acabar este texto aproximativo sin exponer unas breves notas sobre algunas de las obras mostradas. Notas que ratifican las diversas tesis -esquematizadas en los p\u00e1rrafos anteriores- que hemos barajado para la concepci\u00f3n te\u00f3rica de esta exposici\u00f3n. Las tres piezas que llevan por t\u00edtulo Tempus I, II y III, con los subt\u00edtulos respectivos de Pasado, Presente y Futuro no s\u00f3lo justifican el t\u00edtulo de la muestra y la interpretaci\u00f3n curatorial que se hace de la obra de Luis Quintero sino que, gracias al propio soporte sobre el que se ha trabajado, colaboran a la sencilla lectura de esta interpretaci\u00f3n.. La piedra con f\u00f3siles\u00a0 y los acr\u00f3sticos que sobre ella reposan son s\u00edmbolo y signo evidentes de la reflexi\u00f3n que Luis Quintero ejercita sobre el concepto titular de la exhibici\u00f3n, el tiempo.<\/p>\n

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Las otras dos piezas sobre las que quisiera llamar la atenci\u00f3n son La Noche o Reloj lunar y Ciclo. En la primera aparecen doce huevos a modo de doce horas y como representaci\u00f3n del nacimiento. El vuelo del ave es el viaje de la vida. La presentaci\u00f3n del tiempo, en este caso, es lineal. En Ciclo nos encontramos el c\u00edrculo como indicador de movimiento, el reloj, el tiempo circular tal y como lo entend\u00edan los griegos. El doble sentido del t\u00edtulo da juego a que el hombre, la vida, se monte sobre las dos ruedas-relojes; las cuales se pueden interpretar, una vez m\u00e1s, como el nacimiento y la muerte; enlazando esta interpretaci\u00f3n con las piezas inicialmente citadas (Maternidad y Caput Mortum)
\nEl tiempo tambi\u00e9n ha dejado su huella en la obra de Luis Quintero, reflejada en su madurez y sosiego, en un trabajo m\u00e1s liberado de urgencias. Para Luis el tiempo es vida y \u00e9l, mediante su obra-como el poeta- tambi\u00e9n confiesa que ha vivido y que ha conocido. En cierta ocasi\u00f3n, le o\u00ed decir que s\u00f3lo ten\u00eda dos certezas. \u201cque nac\u00ed y que no estar\u00e9\u201d.<\/p>\n

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(1) Juan Eduardo Cirlot. Diccionario de s\u00edmbolos. Ediciones Siruela, Madrid, 2003. P\u00e1g. 119<\/p>\n

(2) Valeriano Bozal. El gusto.\u00a0 Ed. Visor. Col. La Balsa de la Medusa. Madrid, 1999. P\u00e1g. 142<\/p>\n

Francisco M. Cano
\n<\/strong><\/em><\/p>\n

TEMPVS. Sevilla 2007 Sala Imagen<\/strong><\/em><\/p>\n

I.<\/strong>In his dialogue \u201c Timaeus\u201d, Plato propounds his theory of the creation of the universe and the Demiurge\u00b4s creation of the concept of \u201c time\u201d as bringer of order, divided into measurable periods such as day, night, months and years.
\nPlato sees time as cyclical, like the circular movement of spheres. Generally, Greek\u00a0 thought also associated time with circular movement, and understood that human matters also followed a natural circle in which everything was born and everything died. Time becomes complete through movement\u00a0 – above all through the movement of life. The word \u201c aeon\u201d means both \u201c time\u201d and \u201c life\u201d. Life moves through the cycle of time.
\nTime = Life.
\nIt is true that although we may see events or traces of its\u00a0 passing, time cannot be grasped or touched. Manifestations of time \u2013 or rather, the ways in which time is manifestad –\u00a0 have been the object of artists\u00b4\u00a0 intrigue and research through all periods: from narrative painting in mediaeval manuscripts to futurist dinamism.<\/p>\n

When\u00a0 we talk of time in the context of art, a number of spontaneous thoughts or associations come to us: the period of the actual creation and production of the work, its durability, and the temporal dimension that the work itself might suggest\u00a0 – a specific moment in time, an instant, a continuance\u00a0 ( artistic content which it is up to the viewer to interpret).
\nFor our purposes here, we should add a fourth idea, like a fourth dimension according to the Platonic concept referred to above: time as a lifespan, as a phase of knowledge or as a temporal measurement of consciousness\u00a0 ( voluntarily expressed by the artist).
\nLife = Knowledge.<\/p>\n

In Luis Quintero\u00b4s study, this interpretation of the term \u2013 even though we are focussing mainly on his sculpture \u2013 must be extended to cover all the disciplines he uses.<\/p>\n

II.<\/strong>From here on in, let us estbalish the following correlation: time = life = knowledge, and let us furthermore establish one final connection which will carry the essentials key to this exhibition: the symbolism of the\u00a0 head as keeper of both knowledge and the human soul. Knowledge = head.
\nFor thousands of years the head has been considered the centre of power, the central nucleus of individual identity and the foremost vehicle of human expression, emotion and character. From ancient times up through the Middle Ages, it was believed that the soul resided in the head \u2013 an idea expressed by thinkers from Plato to Averroes, who explained that the head is dominant and divine and even that this is where death exist or resides ( as opposed to the Aristotelian idea that favoured the heart as the soul\u00b4s keeper). Quintero\u00b4s output has so many bodiless heads that they could give the idea that some uncompromising modern iconoclast has run amok through his studio.<\/p>\n

If\u00a0 current artistic vision sets a more realistis, faster rhythm, Luis Quintero\u00b4s stance is more reflexive, calmer, more serene and less fleeting. That is why there are hardly any smiles, hardly any expressions of actual specific moments. The lack of dramatic expression has to be connected to a representation of a state of calm, of a quest, or\u00a0 of transcendent happiness; similar to what is seen on the faces of Mediaeval sculptures of saints or personifications of religious concepts, whose expressions are almost flat, in spite of the growing naturalism that can be seen in art of the Gothic period. We can see a closer similarity historically speaking in the work of the symbolist sculptor Aristide Maillol, whose sculptures have enormous strength, but could never be considered deliberately studied, hardly expressing any emotions beyond and impassive seriousness. How can anyone explain or objectify the way that a speeling person, or someone who suddenly gets lost in thought while talking, actually experiences the passing of time? In sleep, as in deep thought, time stands still.<\/p>\n

Luis\u00b4 work is not transitory. It is not concerned with the moment, but with general laws which govern a global moment \u2013 something valid for all eternity. It is a deeply thought- out and deeply thoughtful work. It has no doctrinal pretensions, because it does not approach the definitive answer so much as the eternal doubt \u2013 which is the inevitable way of gaining knowledge. Something which these days is completely ignored in the forum of the mass media.<\/p>\n

The physical representation of the correlations set out above can be found in the two pieces which form the backbone of the analytical meaning of Tempvs . Both birth ( Maternidad) and death ( Caput Mortum) are represented by heads. Between them we should incluye a third piece \u2013 also a head \u2013 which, under the not altogether serious title of La muerte por delante, symbolizes a lifespan. To represent the journey, inside it there is a boat. These are the pieces which really open and close the exhibition, works with a linear and narrative take on the area of life dedicated to learning as a road, as a journey ( see also Infancia ) and knowledge as a goal.<\/p>\n

When the knowledge is empty, or the goal has not been achieved, its representation also seems empty ( Pis, La Paz ) like a modern-day vanitas.<\/p>\n

\u201c In the Zohar, the `magic head\u00b4symbolizes astral light; in Mediaeval art it symbolizes the mind, or spiritual life, which is why it is so often used as a decorative motif. On the other hand, in his Timaeus, Plato says\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ` The human head is the image of the world. Leblant confirmed this idea by pointing out that the skull, as the hemispherical top of the human body, signifies the heaven. It is obvious that this is the head and the sphere, whose symbolish of totality is well-known\u201d. (1)<\/p>\n

III.<\/strong>Luis Quintero\u00b4s work fascinates because of its capacity for introspection \u2013 something which again brings his work into the realm of the symbolist concept \u2013 since it shows us very little of the outside World ( apart from the works Cadena and Contraesopo ). And with this gaze fixed on the \u201c forest of thoughts\u201d, he tells us of desire, lights and beauty,\u00a0 but also of fears, shadows and doubts. Or sometimes of everything at once, since the beauty of his work\u00a0 is as closely bound to the beautiful as it is to\u00a0 the sublime, and to the picturesque. Beauty belongs to nature or art, it is\u00a0 finite, it is close andi t can be trusted:\u00a0 it is uniform and correctly proportioned ( Infancia ). Te sublime, on the other hand, is infinite, it is distant and it is to be feared ( La Paz, La Expulsi\u00f3n del Paraiso). The picturesque is singular, it is strange and it drives the imagination\u00a0 ( Edipo, La Puerta del Averno). It is the mixture which makes the work both attractive and disturbing. But that statement might be redundant, since there is nothing more attractive than that which disturbs. Although it is not the case in hand, I think it is quite appropriate to bring up the following comment: \u201c A lot has been said with referente to contemporary art about uglyism, and the enthusiasm for what is ugly. However, what artists of our times have done is not so much create \u00b4ugly works\u00b4as to reject the beauty\/ugliness dilemma as an irrelevante.\u201d(2)<\/p>\n

There are several such Manicheist dilemas which Luis Quintero calls into question through his work, because he sees no unquestionable certainties or absolute truths –\u00a0 at least for the moment. This is how one should see the technical versatility of his body of work which, occasionally, questions the same idea through approaches using varied techniques or materials. This is the result of a complex analysis, a detailed reflection which keeps a good distance from the superficial, from appearances, and from anything which is taken as valid without question. By doing this, it incorporates the output of the artist into the purest classical tradition and removes it \u2013 happily \u2013 from the empty sing of current times. This capacity for reflection merges with a knowledge of the medium. Thus we can see the definition, the descriptiveness of well-learned craft and virtuosity displayed in each of his sculptures; these are the craftsman\u00b4s qualities which make Quintero\u00b4s work stand out so much from the work of the most sculptors of his generation.<\/p>\n

IV.<\/strong> We could not end this general overview without a few brief comments on some of the works on exhibit. Coments which support the various these ( set out in the paragraphs above) which we have laid out to form the theoretical concept of this exhibition. The three pieces entitled Tempus I, II and III, with their subtitles\u00a0 Pasado, Presente and Futuro not only justify the title of the exhibition and the curatorial interpretation of Luis Quintero\u00b4s work, but also, because of the actual support that he was working on, contribute towards the straightforward reading of this interpretation. The stone with its fossils and the acrostics lying on it are clear symbols and sings of the thought porcess that Luis Quintero dedicates to the titular concept of the exhibition, time. The other two pieces which I wished to draw attention to are La noche o Reloj lunar and Ciclo. In the first one, there are a dozen eggs, like twelve hours, as a representation of birth. The bird\u00b4s flight is life\u00b4s journey. In this case, the presentation of time is linear. In Ciclo, we find the circle as indicador of movement: the clock \u2013 circular time just as it was understood by the Greeks. The double meaning of the title ( \u201cCycle\u201d) plays on the fact that man, life, rides on the two clock-wheels, which can again be interpreted as birth and death.<\/p>\n

This interpretation ties in with the pieces cited at the beginning (Maternidad and Caput Mortum ).
\nTime has also left its imprint on Luis Quintero\u00b4s work, as can be seen in its maturity and inner peace, in a work which is now more free of urgency. Luis sees time as life and through his work \u2013 much like a poet \u2013 he also confesses that he has lived, that he has known things. I once heard him say that he had only two certainties: \u201c that I was born, and that in the future I will not be here\u201d.<\/p>\n

(1)Juan EduardoCirlot, Diccionario de s\u00edmbolos ( Madrid: Ediciones Siruela, 2003), p.119.
\n(2)Valeriano Bozal, El gusto ( Madrid: Ed. Visor. Col. La balsa de la Medusa, 1999), p.142.
\nFrancisco M. Cano<\/p>\n","protected":false},"excerpt":{"rendered":"

Exposici\u00f3n TEMPVS. Sevilla 2007 Sala Imagen I. En su di\u00e1logo Timeo, Plat\u00f3n expone su teor\u00eda de la formaci\u00f3n del universo y la introducci\u00f3n, por parte del Demiurgo, del concepto \u201ctiempo\u201d como una regularidad ordenadora, dividida en periodos susceptibles de medici\u00f3n como el d\u00eda, la noche, los meses y los a\u00f1os. Para Plat\u00f3n el tiempo es … Sigue leyendo TEMPVS<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-135","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P6WHFJ-2b","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/luisquintero.net\/blog\/wp-json\/wp\/v2\/pages\/135","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/luisquintero.net\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/luisquintero.net\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/luisquintero.net\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/luisquintero.net\/blog\/wp-json\/wp\/v2\/comments?post=135"}],"version-history":[{"count":1,"href":"https:\/\/luisquintero.net\/blog\/wp-json\/wp\/v2\/pages\/135\/revisions"}],"predecessor-version":[{"id":1187,"href":"https:\/\/luisquintero.net\/blog\/wp-json\/wp\/v2\/pages\/135\/revisions\/1187"}],"wp:attachment":[{"href":"https:\/\/luisquintero.net\/blog\/wp-json\/wp\/v2\/media?parent=135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}