MANEL MARGALEF
Print


"OBJETOS DOMESTICOS", 2005.
Fotografía digital. 100 x 200 cms.


"OBJETOS DOMESTICOS II", 2005.
Fotografía digital. 104 x 94 cms.


"OBJETOS DOMESTICOS III", 2005.
Fotografía digital. 104 x 94 cms .

Solo show at Madrid Fúcares Gallery.
From January 14 to March 4, 2006.

Fúcares Gallery presents the second individual exhibition in its space in Almagro, by the artist Manel Margalef (Amposta, 1963).

"Domestic Objects".

"Underlining pathetically or zealously the enigmatic side does not make us progress. Rather, we delve into the mystery only to the extent that we are able to find it again in daily life in virtue of a dialectic vision perceiving the daily as impenetrable and the impenetrable as daily." [1]
Walter Benjamin.

The object’s essential role is taking on the function of a mediator between the man and the world — it is the extension of human experience, its cultural condition. The promotion of the experience lived is generated on the object-related bases of the phenomenological world inscribed in our daily life.

The objects are goods, turned into subjects of desires with a function as signal holders and social exponents, with the opposition between the private and the public, between all things artificial and all things natural. [2]

The limits of the tamed world get organised around our belongings, Nietzsche said that we can only understand a universe made up by ourselves. We need control over the exterior, over the objects around, which sometimes nullify and add to the ballast of an existence anchored in acceptation and sedentariness.

In this our Western civilisation, founded on the culture of objects, it can be noted not without curiosity that the daily objects in our environs, bought, used, thrown away, fulfil the same communication function than daily papers, or reproductions of the imaginary museum or radio concerts. [3]

All messages of our social fabric can be reflected in the aesthetics and life of the object, in our mastery over the technological medium, our artistic originality, our consumerist alienation.

The artistic object has still a more personalised mark — cut off from the mimicry and reactions of the ordinary object, it is a carrier of symbolic messages. The artistic object not only supplies a dialogue among shapes, but it also generates a message, an open speech between the artist and the community.

That object based on culture’s crafty devising, remote from all natural things not involving an intellectual effort to define it, stops being a mere element of a whole to unleash a semantics of language and, at one, a semantics of aesthetics.

The object, the artistic piece, reincarnates into connotation in order to entrench its utilitarian sense onto the background. The psychological mechanisms of contemporary individual already studied by Hegel and Marx in their texts on alienation show us the three channels through which said individual is tied to the object: his own desire, his own pleasure, and, lastly, his own sorrow.

This artistic project is rooted in the said psychological mechanism — much to my regret, my link to the object has been here defined, and I have transformed it in a plastic way from the burden and subservience generated by my possessing it. In this exhibition, I am making a tentative theory on the thinking and projection of the self into my private territory, a showcase for the culture and technique of an age.

In the foreground, there is a penchant for the object — in this case, the sign of home as a whole and all objects personalising and bringing it to life. But the discovery of its flaws, the inadequacy of its qualities to daily life and personal relationships, bring about a questioning and an individual angst subsequently translated to an artistic level.

The ordinariness of the object ties us to a familiar, close territory, but not thus emptied from conflicts and disappointments. Heavy sacks, perpetual backpacks, which turn desires into needs and into existential and dissuasive anchorages.

The critic Harold Rosenberg was the first in using the term “anxious objects”, or objects of anxiety, to describe a modern art that disturbs and makes us doubt. It forces us to distrust our routine reactions and to develop our capacity to assess and criticise. Extrapolating the aforementioned quote, my artistic objects make up an anxiety scene where, for the dweller of the contemporary home, the object is an inherited burden.

[1] Benjamin, Walter. Imaginación y sociedad. Iluminaciones I. Taurus, Madrid, 1971. Page 58.
[2] Moles, Abraham. Page 15, Teoría de los objetos Edicción G.G.S.A. Barcelona, 1975.
[3] Moles, Abraham. Page 11, Teoría de los objetos Edicción G.G.S.A. Barcelona, 1975.


Vista de la exposición.


Vista de la exposición.


"DOS SILLONES" 2005.
Estructura de hierro y skay. 100 x 62 x 70 cms


Vista de la exposición.


"SILLON NEGRO", 2005.
Collage sobre madera. 200 x 100 cms.


"IDEACOVA", 2005.
Letras de hierro. 161 x 300 x 9 cms.