Pablo Orza
C.N.T.P.S : Cnmo convertir una escalera en una máquina de transporte interestelar
19 June – 6 October, 07
The Granell Foundations special INSITU section, which began in 2006, continues with Pablo Orzas T.P.S.: Como convertir una escalera en una máquina de transporte interesterar”.
INSITU is a section with its own programme featuring special projects made for the entrance hall of the Granell Foundations Palacio de Bendaña building, by new plastic artists.
Pablo Orzas ad hoc work is similar to works such as T.P.S. Domotica Trascendental (made in MARCO in 2006). Both installations, made with waste from our consumer society, form permeable living spaces for the public; in them we are invited to a transcendent experience, unlinked to traditional arts experiencing of the sublime. The idea of inhabiting is suggested by simple spatial boundaries, using pieces of wood to make the walls, doors and energy circulation conduits required by a modern living space. He also employs computer boards, old household appliances, the odd piece of found furniture and natural elements such as quartz stones, establishing a kind of essentialisation of the idea of habitability as we understand it today: a complex and awkward structure, which arises here in a stark way, like an archaeological reconstruction from a past civilization. This specific site makes use of the iconography of the architectural elements present in the space in question, in order to create a construction that spreads throughout the building by means of the contiguous stairwell. The work was built by adding elements, adapting organically to the space centred on a core motif: an old chair with several pieces of quartz natural conductor and generator of energy hanging above it. Orzas installations are not like a stage design in which a controlled, theatre-like action takes place: highlighting the essential constant in his plastic art career, consisting in criticising the qualities of the conventional art object unique, with a sumptuary value, possessing formal beauty the installations have the objective of being activated beyond their symbolic functionality within the sphere of control represented by art, denoting nostalgia for those societies in which humankinds symbolic world is made up of their concept of reality. Neither does the artist agree with the conventional idea of formal beauty, using the aesthetics of austere materials. He also attacks the traditional concept of authorship by using an alter ego to sign his work, attributing its authorship to the Galician group of multidisciplinary artists belonging to the so-called Centro de Novas tecnoloxías do Pico Sacro: C.N.T.P.S. The artist distances himself analytically from the present time, in order to ridicule the technological apparatus without which we feel lost but which causes us so many problems: he defends a purer and simpler life and imagery generated by ourselves, by our immense potentiality rather than our technological reflection.
