Berlin from an artist in residence. 05/18/2014
I am already working on some drawings. Some small works. I am enjoying it very much, it is a reflection of the things that the city is offering me.
I do not know for the moment how the things I have in mind will drive me. I am just taking into my heart what the city is giving me. In the street behind my studio, there is a tree in blossoms. For some weird reason it have white flowers in the first branches and pinks flowers in the last ones. That is in the middle of Kreuzberg; an area where many different culture share their life.
Now I am just looking and taking notes of the nature that surrounds me, without missing out the strange things that I see and capture.
A lot of things are for me very new. For example: Most of the trees in the city grew very straight. People do not cross the street when it is red , even if there is not a single car on the street; the street are very wide…
I do not know if in the end that, or other small or a big things will reappear in my work. I am not sure who which influence Berlin will have in my work. I am looking now for a dialogue with the city. In the end maybe without noticing it my work will be like a tree in the Kottbusser Tor Strasse.
Jorge Pineda understands reality as permanent interpretation, in other words, as a mask behind which there is no definitive face but rather a game of successive maskings.
What Jorge Pineda does is open up the possibility of mining the control exercised over us by fantasy through the path of an over- identification with it, in other words, by simultaneously embracing, in the same space, all the multiplicity of apparition- like elements; in a certain measure he projects or reflects (once again the specular matrix) the constitutional lacking of the subject which is, simultaneously, an excessive presence of the “impossible.” The Real, in the psychoanalytical sense, in no “true reality” behind the virtual simulation, but rather emptiness itself which makes reality incomplete/ inconsistent, and the function of every symbolic matrix consists of hiding this inconsistency; one of the ways to achieve this hiding is precisely to pretend that behind the incomplete/inconstant reality we know, there is another reality not structured around an impossibility. It ́s not the moment of the disappearance of the veils or of the lifting of the theatre curtain, but rather that of the acceptance of the screen.