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babelfished review
of the show published in El Nuevo Herald
Visual lessons for poetry translators JOSE
ANTONIO EVORA The New Herald The New Herald Draw up of Man is both titled
one of only notebooks exhibited in the Visual sample Poetry (visual Poetry),
opened in the Durban-Segnini Gallery until the 29 of April. It is a volume
of heavy laminae that seems devised to count pedigree of the exhibition,
so and as one assumes that a familiarized spectator must understand less
it with that current of the visual arts that with traditional techniques
like the painting or the sculpture. The title is already suggestive:
Tracks of man. Her author, Carol Steter, put of a same side from drawings
of Altamira and hieroglyphics to transit signals and you will capitulate
of the press, happening through pentagramas, images of skyscraper, maps
and warnings of urban direction. When calling the attention on the common
denominator of all these signs, You draw up of Man invites to think that
the beauty is except an elitist ideal of the species that a condition
of the functional thing when it is done with a minimum of sensitivity.
But that one is only one of the significant corners of this formidable
exhibition, whose curador, Carlos M. Luis, also makes poetry visual,
although its work does not appear now represented, as yes it were it
two years ago, when organizing another one of the same type in Morning
call Lowenstein Fine Arts. The forms are very diverse in which one occurs
sublimates comunión between poetic language and image, according to the sample, and not even is essential the text presence so that it happens the miracle. Nothing to illustrate something written, because for a visual poet the illustration would be, strictly speaking, contrasentido. The opposed end, of which also agrees to abstain, would be the catharsis; the incontinencia of the ego reflected in some palimpsesto again die. A fast look to the gallery test that is little of this last one and much of value in the sample. The best pieces are those of Chris Fritton. His monotipias in crystal mounted on wood even gives sense to the transparencies, as much in the case of Chromos like in the one of All Your Differences and Detritan. The writing load of visual force in the same measurement in which the triangles drawn around the letters harness the calligraphic message of All Your Differences. Closely together, the plastic laminae used by Carol Stetser as support of On the Road obtains a similar effect. Perhaps with Wall One and Wall Three, both digital photos accompanied by written reflections, Thomas Lowe Taylor try a more conventional form of joint of the poetic line of vision. Its method leaves exactly from the technique of the illustration, with the eagerness to obtain the opposite of the immediate functionality. It aspires to the transcendental thing, but the prohibition to itself when on the foot of suggestive images it writes enigmatic texts overwhelmingly, full of subordinated orations that are not conducted nowhere, neither by the route of the logic nor by the one of the poetry. After the appearance of a complexity that tries to explain itself it hides an elevation show that hits its own ceiling. In My Orchids (impression in paper of image worked by computer, 2005), Sheila Murphy bets to combinations of texts and op art, without the formula condemns the piece to the dominions of the illustration. ' ' My orquídeas are victims of your paramilitary attitude. You are not going to touch to me ' ', it can ***reflx mng in a plot of angles and sharp colors. In Demo it matches seemed, and the effect is similar. You Too Shape the Fire (laser impression on paper, 2005), of Karl Young, releases the photography of its testimonial nature and it takes advantage of it to comment out captious, that is also used put solutions of design based on the same idea. The techniques are several, but the clarity of intentions turns the result pure elocuencia. With his digital photography of the 2005 Quantum State Metaphor, John Byrum explodes colors in search of abstractions, and the best thing of the breaking is that in the end it is left always something of balance. Between the best thing of the sample it is also I.ss (red on paper, 2005), that in these times of digital images reproduced and returned to transmit by means of screens, it gives back to the manuscript his original passion to him by the beauty (the elegance of the letters of Ana remembers to me Island, a Cuban handwriting expert that made art until with the writing of bureaucratic texts). The capsularidad in the two pieces of Wendy Sorín and the guessed right fusion of photography, text and graph in Repeat to Music, resists with the ilustrativo facilismo of Fake Book # 92. Confirmation (Steve Dalashinki) in the use of collage. The Sarcophages de Daniel Couvreur (1991) so is not brought by the hairs as it seems. They are small sculptures that give a second air him to the sample, and fulfill the suspected intention to multiply the alternatives of the visual poetry. Of being necessary to eliminate something, it would better agree to be decided by Servo, the other album kept in the display cabinet next to You draw up of Man. Is a notebook often marked by the political catharsis -- like in the two pages of `` Why War?''--, that not him long ago honor to the remaining pieces of Marilyn R. Rosenberg.
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