Activismo (nombre masculino): Actitud o comportamiento de las personas que participan en movimientos, especialmente de tipo político o social.
Arts, in any of their manifestations, generate an overwhelming feeling, a passion, both for the executor and for the public. In contemporary visual arts, in particular, the spectator that approaches a work, erudite or not, tries to place him/herself in the creator’s position and orchestrates a conversation among three for him/herself –observer, work, artist–, being the last one almost always absent. He/She starts questioning: what did the artist intend to express? Who is the artist talking about? What does the artist is trying to tell me? What was the artist thinking about? Why did the artist use those materials?…, etc., and is he/she does not solve at least three of these questions, he/she determines that is not art, but a (pejorative phrase).
For José A. Vincench, this dialogue is unavoidable. His recent works –El peso de las palabras (The weight of words), 2011; Waiting for the Idols to Fall, 2013; Cuestión de tiempo (A matter of time), 2015; and Activismo (Activism), 2015– propose an analysis between the meaning and the representation, with the use of text as a complement to the object-subject, and, in this evolution process, he was reaching such a synthesis in his eloquence, that he presents a sort of abstraction to us today.
Vincench renounces now to the direct representation of words to rummage in the semantic interior and the beautiful design of their lines. The spectators that approach his pieces always receive an interesting proposal, even if they know, or not, that an idea, a concept, lives under that abstract form. However, they are able to reinterpret an associative symbolism, to create, for themselves, a history that explains the use of gold and the crude linen that is woven from cannabis. It is possible for them to approach a playful mixture of solid, its weight, and alienated items; or imposing richness of gold in contraposition with the simplicity of the material that supports it.
Each piece of the exhibition Activismo (Activism) can be read as tour from form and color, but they are also objects themselves. Each picture is autonomous. The traces, geometrical at times, some other anthropomorphous, distort and displace visual logic. The different dimensions draw a trace in space from bigger to smaller and vice verse. It seems the series is thought like the Matrioshkas, and that each piece fits inside the other.
Vincench’s work does not need to be explained beyond its visual nature. It offers a sensation of movement and toughness with a shorter number of elements in its composition. By deconstructing a word in an unpredictable way, he manages to reach a figure that decomposes in segments of cut planes, but that are, at the same time, pieces of the same form.
Would it be that Vincench is trying to make us reflect on the literal meaning of words? Would it be that he is an activist? Would it be that change is supposed to start from inside, fragmenting each phrase, each gesture? Or would it be that he is not thinking in anything, that he was merely proposing us to go under abstraction, to relax our sight, not to think? In this point of the conversation, the work has already talked, the artist has talked as well, it is your turn now…
–Ailín G. Brunet