Essays/Ensayos

Conversación entre la superficie dura y el interior ligoso (2018)
Excerpt: Un cuerpo va a conversar con otro cuerpo como en el caracol conversan las sustancias, la concha dura con la baba ligosa. El cuerpo deviene el espacio de la conversación, después de todo es el cuerpo el que habla. En cuanto al espacio; sus órganos expuestos provocan a tratarlo como a un cuerpo. “Cuerpo incomprensible, cuerpo penetrable y opaco, cuerpo abierto y cerrado, cuerpo utópico”. Nos sentimos entre las rocas. Las sombras son puertas. Cuando se entra en el espacio, el espacio también entra. English Translation

Algunas Formas de Empezar y Continuar… (2015)
Excerpt: La paz de su sueño fue interrumpida por una explosión. Se levanto y corrió hacia la puerta… Desesperadamente buscaba el interruptor de la luz, tocaba la pared pero no encontraba nada, de pronto su mano encontró algo que parecía ser un dedo, estaba húmedo y caliente, se sentía algo. Con su propio pulgar acariciaba algo que era como una especie de pestaña tiesa, era una la uña que estaba casi arrancada…

Con escribirlo, lo escribo (2015)
Excerpt: …se escribe con, lo escribo con, pero se escribe con otro tipo de letra.

Conversación; Voz y Palabra (2015)
Excerpt: Entrar en la conversación es tanto una invitación sugerida, como una interrupción incitadora de uno a otro. La conversación es el acto de con-versar entre el uno y lo otro...

El Descaro de Des-cararse para Luego Re-encararse; Re-iterando Caras y Rostros en el Documento Fotográfico (2015)
Abstract: En “El Descaro de Des-cararse Para Luego Re-encararse; Re-iterando Caras y Rostros en el Documento Fotográfico”, se plantea o mas bien se propone ‘el descaro’. El descaro como el ‘des-cara-miento, en el sentido de poner bajo escrutinio la conceptualización propia de el rostro y la identidad del mismo mediante la auto-examinación. Esta combinación texto-imagen como representación y medio de investigación, propone el uso del texto y la imagen no de modo explicativo, sino mas bien como una apertura a posibilitar nociones semióticas. El texto que produce imágenes o imágenes que producen texto, como se de el caso.

The Constellational Being (2014)
Excerpt: It could be you, but it is me. It is in the here and now that I stand before a mirror. Like I said, it could be you, but it is me. I am looking at my body and the space that surrounds me, I am looking. There is me and there is what is around me. I am looking, I continue looking. Time passes and I continue looking, but at some point in time, after observing my body and its environment, I find myself or at least I get the impression that I find the idea of my-self.

La Mirada En Lo Fotográfico Como Aparato Ontológico (2014)
Excerpt: Penetrar al mundo desde el ojo no implica sólo el ver, sino además el mirar(lo). Diremos que mirar es el uso de la razón y de la emoción como efecto interventor y amplificador de la percepción sobre tal sentido. La mirada involucra la producción de texto sobre la cosa vista, la mirada es más bien una lectura intencionada sobre las cosas...

Self-Framing As Experiment (2014)
Excerpt: Goethe, an artist, a poet, a thinker, a scientist, but most clearly a man of sublime sensitivity, tells us in somewhat of a paradoxical fashion, that our emotions, but more clearly our imagination is one of the most unreliable values that we can introduce into the process of experimentation. That is of course when we are considering experimentation as a means to develop reliable knowledge and acquire concise theory.

Untimely Conversations (2014)
Excerpt: Imagine a text which flows constantly, not only in the physicality of its word count, but in the fluidity of its conceptual propositions. A text that becomes an event of omnipresence through an action of manifestation, a text which is pervasive and immanent in between the pauses, the silences and the gaps as it comes into comprehension. I mean in this case a text that is not only offered in lines and phrases, but actually, in the mode of a conversation.

Curating as Verb (2013)
Excerpt: As we attempt to produce a clear reading on curatorial practice in contemporary culture, we encounter at first that the term ‘curating’ is not yet clearly defined, and that its definition is currently in a process of reconstruction in both concept and form. Although the activity of curating takes place actively on a day to day basis, we cannot yet put a finger on what a constituted curator really is, or what it is that the curator is supposed to do, in order to legitimize the activity of curation as a category…

A Place of Intersections, Devices and Concepts in the Context of Artistic Research (2012)
Excerpt: “Art as a re-search or research as an art, researching in art, the art of research, doing art and research, doing research artistically, doing artistic research. (…) We have two concepts, art and science, and although on the surface, they appear to be as far from each other in purpose and content as we can imagine, possibly, on a closer look we’ll realize they are not…”

Analyzing Photography (2012)
Excerpt: “It’s a known fact that we can go from the universal to the particular, but not the other way around, although we get seduced with the idea that by actually doing it, we can somehow explain the world around us. It is precisely in this light that we embark in photography on a search or a quest towards the non-photographic representation. We seek to experiment with a conceptual approach where fragmentation or extraction becomes the very device of art production.…”

Art as Institution; as a Conceptual Argumentative Strategy to Contextualize Concepts in Art Practice (2012)
Excerpt: “Art as institution, the institution of art, art in the institution, art of the institution, art from the institution, art on the institution, institution and art, art and institution are phenomenons as real as the earth and the sky, hence, clear indicatives of the symbiotic relationship that this two constituents of culture form.”

Boltanski: Re-archiving De-archiving (2012)
Excerpt: Christian Boltanski comes as a familiar name for those researching on the use of the archive in art practice. Essentially because Boltanski has been evolving through the different uses of the archive throughout his career, from the 70’s till today, ranging in his practice from the use of the personal archive: things from his childhood memories, collected objects, towards using public archives and acquiring exterior goods to confront larger issues of the general human condition.

How to Look at Artists and Develop a Research Methodology For one’s own Art Needs (2012)
Excerpt: The following research is concerned in finding ways and approaches on how other established and successful artists have managed to develop a coherent research methodology that favors their art production. The benefit of endeavoring in this investigation lays in the fact that we can gain plenty of knowledge for ourselves in discovering through study cases how other artists go about solving their problems, and how they might be able to channel their creativity through better venues were maximizing creative energy is key to accomplish a satisfying art production.

El Museo en el Evento (2012)
Abstract: Actualmente, a nivel global, se despliega una variedad inmensurable de discursos sobre la producción y consumo del arte. En Guatemala no existen muchos espacios para el debate y la reflexión de los mismos. Con la idea de entablar e incitar relaciones que podrían materializar tales espacios tanto físicos como conceptuales, es que el Museo de Arte Moderno de Guatemala, con la colaboración de Renato Osoy y una serie de artistas y figuras invitadas de la escena del arte local, realizaron un evento único el lunes 20 de agosto del 2012. Durante el evento se produjeron una serie de actividades, incluidas charlas, debates, presentaciones, performances e improvisaciones. Con el fin único de producir ideas, intercambios, relaciones y momentos de sociabilidad en donde se entrelazaran diferentes conceptos vinculados a la práctica y a la teoría de la situación actual del arte en Guatemala.

Researching Notions on the Physical and the Mental Space at dOCUMENTA (13), in the Presence of Artistic Research (2012)
Excerpt: This past summer as I drove through Germany and swiftly entered the grounds of Kassel descending through the mountains, my expectation grew with excitement, as this was my first Documenta ever. Being that the case, I decided to not sink myself into any sort of literature before hand and build prejudice (not necessarily negatively), but rather decided that I wanted to experience the event with not many preconceptions, perhaps freer, lighter, curious, and I thought it was also better that later I would get reflexive about it, that it was gonna be in the future that I would revise the archives of my memory as the experience had been digested and settled in.

Duchamp; Gestures and Answers (2011)
Excerpt: The history of art is full of great artists and great moments of art production, through the means of revising history we come across them, many artists have influenced how we perceived and produce art, but some of these traces have become invisible to pinpoint as we examine art. Such is not the case with Marcel Duchamp, because the more we inquire on his art works, statements and references from other great artists, the clearer it becomes that contemporary art practices are super-linked or somehow based on Duchamp’s influential conceptual legacy…

Ed Ruscha: Words As Images (2011)
Excerpt: The very essence of art, its way of displaying itself and its purposes of representation have always been and still up to today in a constant questioning. Artists, innovative artists that is, are in a constant pursuit to challenge the establishment and the consumers of art in order to constantly maintain a sense of fluctuation on the audience’s pre-conceptions of what art is. This almost aimless endeavor of innovation and questioning that some artists undertake doesn’t necessarily always reach its aspiring goal of creating a mass transformation of believes, because in some cases the borderline of what is and what is not becomes so thin, that one has no clue where one is standing.

The Use Of Humoristic Absurdity In Contemporary Art To Disguise The Romantic Metaphor (2011)
Excerpt: The role of the audience in contemporary art is vital to the existence of the work of art because of it is marriage to the essentiality of the concept itself. The participatory relation that exists between spectator and work of art is not only another part of the piece, but more precisely one of the key elements that give existence and value to the contemporary work of art in most of the cases…