Beautiful Contours

Everything starts in a gesture. The look warns it. A beauty principle runs through objects. The manual work, the artistic expression of the artist, penetrates the subject and a certain preciousness, a certain decorative profusion weaves, expands, becomes objective. But while the eyes glide through the ornamental lines, the contours of the visual suddenly become contaminated. In the stylistic continuum that is perceived neat, the centrality of what should not take place there throbbes. Two logics collide.

The unexpected appears, avoided by sensitivity or even selectively forgoten, precisely because its pain is intoxicating, numbing. The tale starts when the work resists beholding: fugue vectors are opened. A reflective process unfolds. It is impossible to avoid it. We are Outside.

Pesticide fumigations, toxic manufacturing discharges, repressive forces in unrestricted action, circulation of low-cost drugs, expropriation of lands and precarious housing. Apparently unconnected scenarios multiply, but placed in a sequence they show a common denominator: the most carnal display of bodies banned to live in misery.

Cobalt blue, Tales from the outside not only makes visible the margins of a society obsessed with producing profit but, removing them from the center, discusses idealistic aesthetics and compassionate attitudes. To the unwanted remains of the productive forms of our time, Nicolás Rodriguez opposes the production of desire affected forms. Thereby, it pollutes with the density of the excluded everything that is seemingly unpolluted, and in a gesture of aesthetic justice, he applies ostentation and refinement codes to poor, ordinary elements. In each work, the singularity of the detail prevails and, then, suggests the power of the scalable, of the extensible, of what tends to the horizon.

Modulators of a delicate tension between what is centre and periphery, the conceptual subtlety of these works lies in their interrogative attitude by the nature of the contours. Abundance and deprivation, neatness and bulking, distance and closeness; it is not the edges of these tensions that are disturbing, but the tension itself that is generated in between. There, where the beautiful contours are defined, the misalignments of the visible unfold. A gesture. The work beats, spreads, fissures the look and suggests new paths. We warned it. It is impossible to avoid it. We are Outside.

Nadia Martin

11/07 – 01/08 . 2018
Un Lugar en el Mundo Gallery
Buenos Aires