Mario Garcia Torres. I Will Be With You Shortly
until July 24, 2010
These are last days to see the first solo project in Italy by Mario Garcia Torres. A young mexican artist that we mentioned before by publishing a conversation between him and David Askevold on NERO n.17.
For I Will Be With You Shortly Garcia Torres conceived a project rooted in themes of time, silent, the unsaid and the forgotten, all concerns that have been central to his practice. The artist exposes the various actions that lie behind the production of each work and sets out a space for waiting, for reading, for creating and for writing.
The starting point of the exhibition is Unspoken Dailies (2003-2009), a feature film that will be screened only once during the run of the exhibition June 26 at Cinema Spazio Oberdan. The film is based on an essay by Garcia Torres about the work of Bas Jan Ader. The main character – actor Diego Luna (Milk, 2008; Mister Lonely, 2006; Y tu mama también, 2001) – silently reads Garcia Torres’s text to himself. Only the actor has read the essay, which was destroyed right after the shooting. The memory of the artist’s words is in the care of the actor only. Composed of a 66 minutes tracking shot, the film becomes an “essay” on the concept of real time and cinematic time.
Time to Piece (2010), Garcia Torres invites viewers to play with the construction of images, which portray the famous public clocks in Milan, hyperbolically creating a subjective view of time based on the personal reconstruction of each image which in turn represents the time. The work also pays homage to the puzzle works by Felix Gonzalez Torres and Alighiero Boetti, two of the artists that Garcia Torres often refers to in his personal reading of conceptual art. May 2010 (2010), is the last work of the Pocket Scratching series, which started in 2007. For a month, a black and white slide is kept in the artist’s pocket. Fate and inertia produce an image: a grey monochrome where scratches and signs underline lapses of time.
The puzzles and the slide projection are accompanied by the sound of I Promise Every Time (2008), a musical piece made in collaboration with musician Mario Lopez Landa. This artwork is the melancholy and musical transposition of a long-term project titled I Promise… a work that keeps an eye on his daily practice as an artist. Whenever Garcia Torres stays in a hotel, he uses the hotel stationery to write a variation on this note: ‘I promise to do my best as an artist, at least for the next [period of time]’ The promise is always signed and dated, but the period of time fluctuates depending on the artist’s mood. The work demands that Garcia Torres write a letter to the owner of the piece each time he stays in a hotel. In the musical version we listen to a male voice singing about the hotel room as a place to stop and think, promising to do his best just being an artist. The work becomes a kind of monitoring of his commitment to being a “good” artist and a reflection on the meaning of a promise. The rhetorical form of the letter frequently used by the artist recurs both in a text piece which ties together the meaning of the whole show, and also in Dear Beholder (2009), a film in which a letter is typed, explaining the reason to such a habit.
(via Press Release)