SERGIO NATES (México, D.F, 1965-) | PRESIÓN TENSIÓN

OPENING  Saturday  September 12th (12-15 hours), 2009
Until October 12nd, 2009
 

Sergio Nates is an author who has been attracted by research and analysis processes which derive in formal structures of seeming rationality. His pieces infiltrate the cognitive experience in the aesthetic experience, through experimenting and conceptualizing. As a matter of fact, his most interesting pieces expose a firm affiliation to the methods and principles of conceptualism, which causes several of his photographic projects to exhibit a tautological condition: they are representations that arise as a hypothesis before a series of questions about the representations.
Presión-Tensión (Pressure-Tension) is one of the projects that better exposes that hybrid condition. First and foremost, photography is here a subversive gesture that plays with our predisposition to deem the representation’s object as concluded in the representation itself. In this case, to accept the represented event as definite would be inconsistent with the fact that said event is based on the manipulation of the objects’ spatial-temporal existence condition. That said temporality is not appreciated in each photograph as an individual structure, only helps us understand that the photograph is insufficient regarding what has been photographed. That’s where the ironical character of this series stems from.
 Sergio Nates covers a series of objects with elastic bands until their appearance is changed, even if in reality the appearance is a secondary aspect in regard to what truly interests him; in his own words: “…the relationships of the materials and the presence of the forces that are inherent to the objects, as well as the invisible forces that act over matter…” Nevertheless, the change in appearance, or at least, the change in the conformation, is what makes us understand these objects as sculptures (and the fact that some of the objects are sculptures covered with elastic bands, enables us – also ironically- to present them as re-sculptures).
What can photography contribute to those constructions, beyond their testimony of their existence or the contribution to what the author himself states as a register/scrutiny of the tensions of space and time to which these objects are subject to? To answer such question we would have to go back to the issue of appearances, even when this contradicts the main statement that originated the objects in question. Because these photographs reveal the objects as carriers of an elastic plasticity and of a beauty that is isolated from the passing by on which they are placed by their own constitution. As a consequence, these photos redefine the aesthetic fact as a static fact, taking the concepts of pressure and tension to the range of the imaginary.

By Juan Antonio Molina (translated by Leticia Consuegra)

 

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