Sometimes it is annoying to find accommodation for certain life practices such as, for example, having to sleep on a polyester sheet in the bed of a hotel, when in most cases anyone would prefer, literally with their eyes closed, to throw it on a cotton sheet of those good domestic and worn. Perhaps this is the case of Llópiz, who has chosen for his exhibition a space that is well known to him: the living-dining room of the apartment that, sometimes, together with Solveigt Font, turns into an art space for friends and dilettantes in general of contemporary audiovisuality.

A times (AVECEZ, for technical and stylistic reasons), it reconciles non-routine and unpredictable encounters, propitiating a more efficient digestion, let's say frugal and fortuitous at microsocial scale, of "hard" line aesthetic experiments. Whithout skull, which I have no idea if in English it has the same literal and contextual meaning as in the Spanish spoken in Cuba, where such an idiomatic proposal makes clear any lack of commitment on one or both sides in a conversation or brawl, is a good example of what I'm saying. Only a few pieces manage, in a minimal way and great factual cleanliness, to inform us of very diverse and certainly cryptic matters.

Shaving and piercing is a small-format work with a very subtle symbolic charge: On a vinyl surface, one of those used to upholster furniture, physically vulnerable to any sharp object, the author has stamped with paint, as a "decoration", a razor blade and a replacement strip used by conventional caladores. In this duality, which somehow evokes the everyday in the hygiene of shaving and its counterpart in the professional-functional, there is a discreet "ay" of fear of the threat of figurations, only sketched with a merely formal representation of that which could really propitiate a cut.

With the same invoice treatment, using the vinyl stretched as a canvas, in the best Renaissance style, this support modality reappears in a brief polyptych of the Espacios de trabajo series. One cannot escape the referential whim that this material provokes, in an open allusion to leather, to skin, recomposed as a surface destined for creation, perhaps artificially, as a cultural evocation of the epidermal syntheses that lead us to another evolution (postbiological?). Hence, certain polychrome patches (intercultural grafts) refer us to a highly sensory work zone, which does not exclude the possible appearance of a screw, nor the proximity of a black cotton fabric with a taxidermiade rose.

Another creative plot that Llópiz has explored for some years now, appears again in this view. This is the exhibition of digital media, quickly superseded by progress in this field, which once contained information of intellectual value to the artist. Doing a curatorial reading, such corpses are closely related to the dry rose of Work Spaces. In the list there are also videos shown, with the same museographic discretion, on a laptop. I believe that the latter are the ones who, without a skull, would placate any decoding bewilderment in the spectators; and also because, at ten o'clock last, we could interpret anglicism, whithout skull, as an invitation to a playful, explicitly contemplative, plastic phenomenon.

By: Amilkar Feria Flores

Palatine Entropic Observatory / June 27, 2019, 10:00pm