VIEW POINT

Within the generic project Taller Ocupado; Jorge Santos presents the installation Viewpoint in “Jornadas de Puertas Abiertas” at Casa de Velázquez.

Santos usually uses his working space as an element of his discourse. It is a mobile and permeable space and it is not a rigid space, which creates frontiers and bars the ways. In his video installations, the projection surface allows for a continuous movement – added to that of the projection itself – making space extend beyond the work. This is what happens in pieces like Night Shadow or Estore Projectado.

Continuing with this customary dialogue in his work, he proposes a intervention in his studio at Casa de Velázquez, where he intends to let what is exterior come into is interior and by so doing reach a transmutation of locus: when it is within it is without and what you understand as within and without. If in his previous intervention he made the garden come in by way of the trees reflections on the spectacular surface of Tragaluz, now the spectator feels as if he’s in the garden surrounded by a white picket fence.

This proposal as in almost all his works is a site specific where the author’s usual workplace and living space are transformed into a kind of hortus closus. He makes us enter his own space, his own spatial and conceptual perception of the piece of art. Thus, Santos searches for a way to establish a reflection about the place, use nature and create a public work of art in which the fundamental, what truly matter from the creators work, is a relationship that is created between the work the spectator. A relationship of enrichement and mutual respect. That is why the work itself without its public is unfinished, it will only be complete when the visitor can experiment the several emotions that this unpolluted white space transmits them as well as the feeling of being within this delimited zone, not by the surrounding walls of the building, but by the garden fence. Thus he, intentionally, keeps away from certain (and dangerous) art market trends, whose social apex replies to the economic needs imposed by the consumer society, which has nothing to do with the social needs that art is aimed to satisfied.

Juan-Ramón Barbancho
Graduate in the History of Art
Critic and Independent Commissioner