Note on Abstract Art Project / Collage Habana Gallery

Lately, in visual arts exhibitions, as part of a new modality, perhaps due to lack of economic resources on the part of promoters, organizers and institutions, it has frequently happened to me that I don't find any written support (i.e. catalogue, folding, loose, statement or something like that) where I can anchor some conceptual reference to accompany the works. Without a didactic spirit, I believe that any concomitant text would smooth out a first reading of what has been seen, especially for neophytes, as happened to me in my formative years; other times it happens that such a privilege happens exclusively on the day of the inauguration.

I have begun these words with such a diatribe, because there are exhibitions that need it, especially if you were not there on the opening day. In such a case, the spectator's interpretative spirit is tense until it reaches the paroxysm of scrutiny, an exercise that is not at all easy in times when things go by without some vaguely enlightening claim. The abstraction, that already exceeds a century of existence, understood as a quite complexaesthetic tendency, is, still today, an excellent refuge to rest any conceptual criterion that crosses the mind. For many, during a century, it has also been an object of easy plastic expression; but we should not confuse abstract art with Art.

A genuine artist will always intuit where there is an accomplished and authentic way to pour his creative need. In this exhibition there is literally everything. Many of the works review paths so beaten that they end up as trenches, with invoices that are too lamented and learned; others, although foreseeable, manifest a consequent trade. Only a few honourable exceptions are surprising for their authenticity, validating the contemporary survival of the abstractionist "model". In the first half of the last century, with the appearance, historically speaking, of a sociocognitive structure capable of propitiating the gestation of such an innovative form of expression, the perceptive horizons of art were expanded, and with it the mechanisms of acceptance and validation of this mode of social consciousness. Of course, such a rupture also generated confusion, new conflicts of ideas between factions, fragmentations, successes and nonsense; and we are still at it.

With exponents from different provinces of the country, the Crusade manifests itself here as Imam IV / National Encounter of Abstract Art, or vice versa, something that did not make clear to me the lack of documentation. It is gratifying to rediscover, through his works, the presence of Pedro de Oraá, Raúl Santos Zerpa and Rigoberto Mena, masters who need no introduction.

Text and photos: Amilkar Feria Flores
Palatino Entropic Observatory / August 5, 2019, 09:10pm