Verb, from the Latin verbum, powerful word, essential in the Spanish language, indicative of action, existence, attainment or condition of the subject, apparently has kept the Cuban artist Iván Capote awake. More than a year has passed and still the man has much to say. Galería Habana was the beginning, the first edition of a project extended in time that, under the title Verbum II, will be exhibited this time in the Center for the Development of Visual Arts (CDAV).
Iván Capote has found an effective, powerful, ingenious formula, a strategy in which the verb –understood as a nexus between subject and predicate– functions as a simile to understand art, or better yet, the work of art. In this sense, this stands as the center between the artist and the spectator, also protagonist of the artistic field. The linguistic conceptualism to which the author ascribes himself is once again key to understanding the exhibit, since words materialize and become allegorical. It is the word conceived as an immovable body, rooted as a reservoir of culture… And he uses it, fiddles with it, re-contextualizes it…
However, is not only the word shown on the surface. The linguistic sign also assumes an institutional character, it acquires forms that contribute to the dialogue and the intentional reflection. Minimalism is then seen as the right language, a precise, accurate medium that promotes interpretation and gives structure to thought. Verbum II should be considered in its entirety, and if possible linked to the previous edition to fully understand it and discover the accumulation of expressive possibilities that encompasses the creative work of Iván Capote. In turn, each work deserves a particularized reading, which allows to establish relations and confrontations with the rest. Only in this way can a genuine and fair assessment be achieved.
Each word contains a story and the whole history is contained in Verbum II. It transmutes sometimes, others masks itself, but there it is. It must only be deconstructed by a wise spectator. There is also irony, satire and double meanings so beyond encouraging thoughts, it amuses and amazes the “reader.” There is a deep analysis of the text in its essence and etymology. However, the text is not the end, but the beginning. The work of Iván does not use the linguistic sign, but arises from it. Therefore, folks, we must read, so that the myopic, put on your glasses, until now that is all we can advise.
–Claudia Pérez