<\/p>\n
(Continuation of ‘Carlos Delgado. Fundacion Carlos de Amberes. Madrid. II’)<\/p>\n
<\/p>\n
Within the context of his recent return to referential iconography, the figure has been presented, (as already seen in the \u201cPost-Suprematist\u201d (\u00abPost-Suprem\u00e1tica\u00bb) and \u00abLa Guardia Place\u00bb series), as a stimulus for open interpretation that, even in its most figurative facets is oriented towards defining the essential features of the contour of an icon submitted to various levels of metamorphosis.<\/p>\n
Once the morphological appearance has disintegrated and the idea of a specific subject and its being in the world (as Merleau-Ponty said) has gone along with it, the figure loses the moorings of its identity. in \u201cTwenty years to go back to painting a female nude\u201d (\u201cVeinte a\u00f1os para volver a pintar un desnudo femenino\u201d), Ciria resolves the figure with line drawing and some discrete descriptive features created by the light that falls on the skin of an already opaque self. In this way, the artist seems to be defining the image starting from the ruinous vestiges of time and memory, which is to say, of the cognitive functioning of the human mind that does not accumulate information and which forgets a great deal of our referential information.<\/p>\n
In pieces like \u00abStrange Woman\u00bb (Mujer extra\u00f1a), \u00abBather\u00bb (Ba\u00f1ista), \u00abNew Bather With Rounded Forms\u00bb (Nueva ba\u00f1ista de formas redondeadas), \u00abContortionist 1\u00bb (Contorsionista 1) and \u00abContortionist 2\u00bb (Contorsionista 2), the metapmorphosis determining the almost total loss of recognizibility is accentuated and the superimposition of variable forms on top of fixed ones is accompanied by a complex tension in the ambiguity of the meaning which we have already mentioned. Certainly, Jos\u00e9 Manuel Ciria’s projects relating to the genre of the portrait\/figure are resolved through what Rosa Mart\u00ednez-Artero denominates -between interrogating signs- new constructions of the subject. \u00abA feeling deeply rooted in contingency and fragility (the undefined), as opposed to the security provided by naming (the hierarchizing order of the ‘one’), producing an ‘I’ subject that is not easily described pictorially\u201d(76). That difficulty arises in Ciria’s work because it deals with a body penetrated by multiplicity, by dismemberment, \u00aborgans without a body, skin without flesh\u201d(77).<\/p>\n
Jos\u00e9 Manuel Ciria has engaged in experiences with different conclusions in relation to the landscape throughout his career, even if the work presented in the \u00abMonfrag\u00fce\u00bb show. \u00abAbstract Emblems on the Landscape\u00bb (\u00abEmblemas abstractos sobre el paisaje\u00bb, 2000), is the high point of his interaction with the genre. On that occasion, the artist’s approach to any particular landscape did not include the intention of reproducing it for contemplation, but to suggest the strata that such vision produces in his memory through a constant concern for light As a result, \u201c\u2026.for Jos\u00e9 Manuel it was never a question of reproducing, which is to say, translating the physical into art, but of allowing that. Based on a \u00abfound\u00bb formal analogue in a Duchampian mode, his method of working was to be made up of formulas for deriving sensations deposited in his memory during his passage through the park\u201d(78).<\/p>\n
Confronted by the exuberance of nuance of those compositions, in Jos\u00e9 Manuel Ciria’s recent work his interest in the formal sign as well as the absence of any context has led to a notable reduction in the variables of the devices by which we can understand the landscape. The artist’s concept of it as a \u2018cutout\u2019 is now accentuated. Intellectualized and modular space that flees from the absolute of Nature to reveal itself as what it really is, a \u00abcultural construction\u201d(79) which our artist reveals, like the last Mir\u00f3, through scarcely indicated lines and signs in a void activated only by periodic gestural marks.<\/p>\n
A work like \u00abMasks on Crossing\u00bb (\u00abM\u00e1scaras sobre el pasaje\u00bb) shows us a high degree of volumetric, chromatic and figurative withdrawal that the artist applies in the superimposed horizontal bands, a recourse often used with slight variations in numerous pieces from the \u00abLa Guardia Place\u00bb series.<\/p>\n
The marked horizontal format, as opposed to the rigid regularity of the rest of the pieces, as well as the presence of a compartmentalizing mark that acts as a horizon line becomes, despite the ambiguity of the title, \u201cPen\u00e9lope l’amour\u201d, a complex and beautiful post-landscape. There is no sign that represents (substitutes) a specific space in nature. We find, thus, a large central presence whose morphological structuring is evoked in itself. It turns, flows, slides, reveals itself and hides itself behind the horizon line…there are no sufficient indexes to determine what lies behind this formal reference. We are sympathetic to nature despite, or precisely because \u00abthe work of art is incapable of reflecting or documenting nature as something previous to human judgment, given that nature is the reflection of an idea, which is to say, the consequence of an ideation and\/or a discourse\u201d.(80).<\/p>\n
On the Gaze, or How to Invoke Doctor Zaius<\/p>\n
The complex lines of division presented by Ciria in his current work and the difficulty in following them due to their mobility speaks, in the last case, of the artists efforts to continually rethink the mechanisms of his painting. A rethinking that, from the outset, shows itself in the artist’s return to certain devices and themes from his early work and plots its trajectory in a circle with time as its perimeter. New creative dimensions emerge out of this complex revision. For example, those we have indicated with the name \u00abrare paintings\u00bb, in allusion to a kind of pictorial construction that remains in its uncooked, unfinished state, where the artist locates his work between the image and the event as a strategy conscious of being estranged by form and meaning. We have also made it our business to analyze \u00abpost-genres\u00bb, new constructions for decoding sensory information from the world established by the pictorial tradition. Talking about the complexity of Ciria\u2019s painting at this point in his career also implies reflecting on the hypothetical attitude of the viewer in front of that work.<\/p>\n
Ciria, as completely banal as it seems just now, recently mentioned in a conversation, \u00abI want the viewer of my work to become like Doctor Zaius from The Planet of The Apes. Where they get vertigo, feel afraid and distrustful and they want to kill me because I’m from another planet, I’m threatening and I paint these paintings\u201d(81). If we look into the latent observation that lies behind this joke Ciria is making a claim for the idea of the painting as a \u00abminefield, appealing to something beyond mere contemplation\u201d(82) What he hopes for, therefore, is a reaction that alters the deposition of the gaze, a response to a dramatic appeal, like what Freud touched on in The Interpretation of Dreams, \u00ab(…) can’t you see I’m on fire?\u00bb But we will begin by analyzing the gaze itself as an object lost to the scopic drive.<\/p>\n
Lacan includes the study of the gaze in the chapter entitled \u00abThe Gaze as object a lowercase\u00bb of the 11th seminar, where he defines the painting – as we have already indicated – as a Trap for the gaze. But we should now ask ourselves: What is the gaze for Lacan? He makes a distinction between the eye and the \u00abschizoid (gaze) in which the drive is manifested at the level of the scopic field\u201d(83). Following Maurice Merleau-Ponty he situates the gaze outside the subject, (\u00abwe are seen beings\u201d(84)), to locate it \u00abin the spectacle of the world\u201d(85).<\/p>\n
At a certain point during his seminar, the doctor drew on the blackboard the classical cone of vision that emanates from one geometric point (subject) and forms a real, tactile, transitable space, and then culminates in the object. But this geometric space of vision is judged by Lacan to be an issue of spatial, not visual, demarcation to the extent that \u00aba blind person can perfectly reconstruct or imagine it\u201d(86). There is another, complementary, model that Lacan opposes this one to which can be used to capture what escapes from the optical structuring of a painting. And in this way, we can superimpose on the first cone another inverted one whose vertex emerges from the object itself (point of light) and that creates a libidinal space, where light is refracted and diffused and where the painting-image is ultimately configured.<\/p>\n
A displacement of the subject emerges from the interrelation of the cones (before, when we were judging only the first cone, located on the vertex of the perceptive field) to locate itself in an outside which is, in its own right, at the very center of the subject. Therefore, the subject is also under the gaze of the object, he is spectator and image: \u00abAt the back of my eye, without a doubt, the painting is painted. The painting, truly, is in my eye. But I am in the painting\u201d(87). On one side, the subject sees, while on the other side, he finds himself in the gaze.<\/p>\n
An intermediate point emerges from the superimposition of the two cones that functions as a mediating element between subject and object, and which Lacan calls the ‘mirror-screen’ – an ambiguous term that has given rise to many interpretations. Rosalind Krauss locates the subject on the mirror-screen: \u00abwe are the obstacle -Lacan used the term \u00abmirror-screen\u00bb- that by blocking light, produces shadow. We are but one variable in an optics that we will never come to dominate\u201d(88). For Hal Foster, the subject is an agent of the mirror-screen, not one with it, in what he defines as \u00abthe cultural reserve that every image is an example of. Call them conventions of art, schemes of representation, codes of visual culture, this ‘screen’ mediates the objects gaze for the subject, but also protects the subject from this gaze of the object. Which is to say, it captures the gaze, (…) and it tames it to convert it into an image\u201d(89).<\/p>\n
The painting is also an agent of the mirror-screen that acts as a trap for the gaze. But this gaze that traps the painting is not the subject\u2019s gaze, but rather the savage gaze of the world, therefore, \u00abart is a strategy that belongs to the symbolic to trap something (the Thing, das Ding) that pertains to the Real. A strategy invented by man for (con)forming the gaze. For this reason it is said to be a trap for the gaze, because in some way that gaze of the world, that real gaze, that is outside (but also inside), remains there, \u00abshown\u00bb. This shows what cannot be shown. Therefore, \u00abun-show\u00bb teaches that that which shows is not showable and that that which is shown is only a signal, a \u00abdecoy\u00bb Lacan would say (90).<\/p>\n
The gaze is defined as something that does not precede the eye and, therefore, is an absence, object of the lack and the cause of desire. Does the painting, then, present itself to Lacan as simply a trap to catch the gaze? The painting holds the gaze of the world in a visible point at the same time as it tries to satiate the scopic drive, the desire of the gaze, as nourishment for the eye. \u00abOne could think that the painter, as actor, is trying to penetrate us through our eyes, that he desires to be seen. I don’t believe it. I think there is a relationship with the untrained gaze, but it’s more complex. The painter gives something to whoever sees his painting, at least in most painting. It could be summarized like this: Do you want to look? It’s right here, look at this! The eye is provided with its due rations, but it also invites whoever is in front of the painting to abandon his gaze, as one abandons weapons. This is the pacifying, Apollonian, aspect of painting. Something is given to the eye, not to the gaze, something that entails an abandonment, a deposition of the gaze\u201d(91).<\/p>\n
This last reflection has been the point of departure for theorists such as Hal Foster to signal the rejection, on behalf of a large part of contemporary art, of this old axiom of pacifying the gaze. Through its link with the abject, the traumatic and the obscene with the gaze as it is conceived in the perceptive scheme described by Lacan, Foster suggests that artists like Cindy Sherman, Kiki Smith, Andre Serrano, Robert Gober, Paul McCarthy or Mike Kelly, manage to tear, through their work\u2019s \u201ctraumatic realism\u201d, that place of mediation between the subject and the gaze.<\/p>\n
But contrary to this strategy of excessiveness there are other paths for the deception of the gaze. In this direction Miguel A. Hern\u00e1ndez Navarro has indicated that the art delimited by Foster only presents one side of the coin He then proposes an art of the invisible \u00abwhere excess is by defect transformed, \u2018seeing too much\u2019 becomes \u2018hardly seeing anything\u2019, in reference to certain work by artists such as Martin Creed, Teresa Margolles, Santiago Sierra and Josechu D\u00e1vila(92) Two visual poetics like two sides of the same coin. Two distinct modes of approaching the Real, by default or through excess (\u00abdisappear or vomit\u201d(93), strategies for emptying or thinning the mirror-screen.<\/p>\n
In the group show \u201cImpurities: The Painting-Photography Hybrid\u201d (\u00abimpurezas: el h\u00edbrido pintura-fotograf\u00eda\u00bb), the curators had already analyzed the work of Jos\u00e9 Manuel Ciria from this point of view. They considered his work hybrid, where he superimposed a violent painterly gesture on the advertising image, as work that disrupts the balance of the imaginary-symbolic decoy through excess. In this way, the artist then manages to show the residue of the Real and \u00abprobe the contemplative petrifaction of the subject, unsettle it, shift it from the center to the periphery, from the pure a-temporality into the impure temporary, to rhizomatic and nomadic wandering\u201d(94).<\/p>\n
Before the visual excessiveness of those pieces, Ciria’s recent work has gone though a process of expressive cooling down born of the formal demands that we have been describing in the previous chapters. Neither domesticated by excessiveness nor dominated by the void, the artist\u2019s current work opens an intermediary vein between the two forms of deceiving the gaze that we have just outlined.<\/p>\n
Form, understood by the artist as a linear structure from which uncertain meanings pulsate, traps a libidinal urge in its interior. The body seems to become dismembered and disintegrate in a fluid movement. The skin of the real has been stripped away and the body emerges altering the intelligibility of its form; \u00abwhat is pulsating under the skin is no longer another skin, but something completely different, totally inconceivable, flesh like thick magma, halfway between liquid and solid\u201d(95) Mercedes Replinger directly says \u00abdismemberments\u201d(96) when referring to the \u00abLa Guardia Place\u00bb series. She brings out the destroyed and reconstituted characteristics of the body through patches, live and emptied fragments that try to reorganize themselves in a dramatic dialogue. From this perspective, a piece like \u00abTable of elements\u00bb (\u00abTabla de elementos\u00bb), analyzed in the previous chapter in its relationship to the tradition of still-life, and specifically with Holbein’s \u201cThe Ambassadors\u201d, now presents itself to us as a dissection table, truly, a horrible vanitas.<\/p>\n
Are we then in the territory of the abject, in that \u00abtraumatic realism\u00bb that Foster referred to? In reality, Ciria never pauses to examine the injury (of the trauma, in its etymological sense) nor, for that matter, in the subsequent negative connotations of sickness, ugliness and death. This dismemberment that we have been referring to is the correlate of a pictorial theorization that does not hinge on the public experience of the body. If painting the object\/body is to \u00abrepresent it as being lost\u201d(97), Ciria chooses to present it directly disintegrated, before the \u201cI\u201d is produced, in the mirror phase where the ghost of the fragmented body emerges. But, at the same time it avoids atrocity -it neither dissimulates nor camouflages it- to construct matter as a visual reflection around composition, line and color. Is it icon or formal sign? Is it figuration or abstraction? It is, ultimately, hybrid, its ambiguity acts as a mirror-screen. Far from the excesses of \u00abtraumatic realism\u00bb but without approaching the \u00abseeing nothing\u00bb of the anti-visual, Jos\u00e9 Manuel Ciria’s current work presents itself as an uncomfortable short-circuit between both extremes.<\/p>\n
We shall now turn to Lacan for the last time. For the doctor, we are beings seen by the object a (Other), during the vigil, the gaze of the Other is eluded, thus positioning the subject in the comfortable role of voyeur. But, what happens when the Other shows something, or acts? Lacan says; \u00abThe world is omni voyeuristic, but it is not exhibitionist- it does not provoke our gaze. When it begins to provoke it, then our feeling of estrangement also begins\u201d(98).<\/p>\n
The change in the pictorial concept that we have been describing in Ciria’s work is a movement from pure abstract expressionism to raw, unfinished work. There is a play with the tradition of genres in order to unhinge the last bastions of its structure. The complex symbiosis between form and meaning, in short, the conceptual complexity that supports painting, are elements that seem to alter, without, as we have already seen, entering into the territory of the abject that crystallizes its rejection – that \u00abApollonian\u00bb extreme of pacifying the gaze that Lacan bestowed on painting. As much for the observer who is familiar with the artists career as for one who is seeing the work for the first time, Jos\u00e9 Manuel Ciria’s work provokes, without a doubt, a strange amazement.<\/p>\n
This is the moment when the hypothetical viewer (art critic, curator, gallery owner…) can become the tyrannical Dr. Zaius, Minister of Science and Chief Defender of The Faith in ape society, who during the trial against the human, whose capacity for reasoning he refuted during his trial, concedes to him, at best, the ability of mimicry or meaningless repetition. Perhaps, is it not the self-proclaimed destiny of painting, an atavistic medium and useless artifact, to engage in always creating the last painting? In the case of Jos\u00e9 Manuel Ciria’s current work the threat emerges from a painting molded on a conceptual solidity that is usually considered appropriate to other mediums. Evidence of a solid dedication to painting on the part of an artist who does not define himself as a painter \u00abbut as someone who observes and analyzes the elements comprising painting and experiments with them\u201d(99). His defense is born out of a process that explores the limits of the medium as much at the margin of traditional cataloging and hierarchies of painting as well as in the principal divagations that have managed to pass through the arbitrary filters of the enormous biennials of recent decades. Without a doubt, Dr. Zaius would have something to say about this artist who, by transference, would immediately put himself in Taylor’s role as the bright eyed hero whose voyage has been in reality a circle with time as the perimeter. It seems an apt comparison.<\/p>\n
Alfa Alignment Dynamic<\/p>\n
In London, In 1753, Analysis of Beauty (El an\u00e1lisis de la belleza) was published, in which William Hogarth reviewed the basic principles of aesthetics as they had been codified since renaissance disegno. At the same time, he interspersed this analysis with certain touches of the Roccoco aesthetic to derive a favorable judgment of undulating lines, whose beauty resided in their function as guides, and which were agreeable to the eye along their entire form. Hogarth assumed at that time that ocular movement was continuous, uniform and that it could be guided by certain arrangements. Despite the numerous studies that have subsequently demonstrated that the movement of the eyes is irregular, that it does not follow the edges of shapes or objects, and that its activity relating to the object depends on the viewer’s ideas, the majority of the formalist approaches maintain this over-estimation of the capacity of line, form and color to direct the movements of the eye during the receptive process(100).<\/p>\n
Conscious of the disparity of possibilities in the receptive process of a painting, but motivated nonetheless by the utopian nature of being able to suggest the path of vision, Jos\u00e9 Manuel Ciria has kept this line of reflection alive, even though he knew beforehand that it leads nowhere. \u00abI have mentioned on occasion, that it would be fantastic to be able to dictate the order of the reading of a painting, I mean, that central element that absorbs our first glance and then the following points or stops that call our attention within the path of vision. (\u2026) To be able to direct the path of vision throughout the contemplation of the painting, would surely be an impossible task. But flirting with the possibility is nevertheless exciting\u201d(101).<\/p>\n
The emotion the artist is referring to comes from the working reflections that are born out of and parallel to this flirting. At any rate, it is not in the artist’s final intentions to determine the way in which our gaze travels though his work, but on this horizon, the possibility of discovering those nodes of interest that ask the viewer the major questions arises. Nodes that, contrary to other points in the image, would completely alter the character of the image if they disappeared or were moved in any significant way, those points that, independently of their iconographic or narrative value, constitute the autonomy of formalism in visual construction.<\/p>\n
These reflections, which are nothing new in the creative imaginary of Ciria, have recently been reactivated in light of the process of rethinking the painting that he finds himself immersed in. Once again, the artist traverses his own theoretical concepts with fluidity to formulate new fields of research. Now, without stopping working transversally, those premises that supported his well known D.A.A are projected into an analytic space where the acronym is maintained, except in a different order A.A.D. (Alfa Alignments Dynamic), and that the artist has explained in the following way. \u00abI’m calling Alpha Alignments those basic tensional structures in a pictorial work, that is, that within all painting, excepting minimalism and its offshoots, there are a number of primary configurating elements that create tension in the composition. This can be found in the entire history of painting since the Renaissance and Baroque up through abstraction and contemporary figurative painting, passing through Romanticism and Cubism, Suprematism, Constructivism and American Abstract Expressionism\u201d(102).<\/p>\n
This first definition reduces the true implications of this new field to its essential. For this reason it must be specified, before continuing the investigation of his conception of the structural search the artist is referring to, that it is not based on a study of lines of composition that determine the position of shapes or forms in the painting. His interest is even more specific, as it is founded in the localization of key anchor points that determine the functioning of the dispositio or pictorial composition, beyond the inventio (iconography) and the elocutio (the formal calligraphy)(103). A function that, furthermore, without being a pre-established code, frequently appears in pictorial works ascribed to quite different discourses, artists and periods from Western Art History. In this way, these basic or primary alignments, which the artist calls \u00abAlpha\u00bb, are constituted as such through dynamic repetition.<\/p>\n
The artist, in his analysis and search for these elements, does not extract formal similitude out of formal creations but rather seeks the recurrence of specific graphics that function like roof beams in the visual structuring; \u00abI’m not talking about how Bombardment by Guston might look like \u201cThe Plague\u201d by Beocklin. If it were possible to reduce to some basic lines and gravitational points, like a mere diagram, plan or map, a composition such as \u201cThe Centaurs\u201d, for example, to keep with the same symbolist. We see that the Boeklin, rotated 90 degrees, coincides with extreme precision with one of the \u201cElegies for the Spanish Republic\u201d by Motherwell. I don’t mean to say that Motherwell, who travelled through Europe, was directly inspired by that work, simply that the coincidence is telling. Many artists from different epochs and periods throughout history use a series of markers, lines of tension and distributions of weight that are constantly repeated, even though their work may be diametrically opposed\u201d(104).<\/p>\n
If D.A.A. ended up defining itself as a response to a question (Is it possible to bring together in one technique and just one gesture the methodology of three of Ernst’s periods; abandonment, becoming aware and realization?\u201d(105), the field delimited by A.A.D. emerges from a process of latent reflection that had been slowly marinating until it found its specific frame of action. In this way it is interesting to remember the project the artist carried out during his stay in Rome when he was there as a result of winning the Grant for the Spanish Academy in Rome in 1996. Under the title \u00abTime detained\u00bb (\u00abEl tiempo detenido\u00bb), Ciria set upon dissecting the retention of time in Giotto’s and Ucello’s paintings through his abstract formal language. At that time, the artist disengaged the mechanisms of the figurative context and operated through the stain in a complex searching of shifting notions. Without acquiescing to the work of the Renaissance masters, Ciria resolved his paintings with a subjectivity directed towards autonomous formal ends. In any case, that experience that was oriented towards delving deeper into his own formal-theoretical concepts created a dedication to a profoundly meditative analysis of the work of Giotto and Ucello. In his search for discovering the mystery of the work of those \u00abtwo glorious manipulators of the deceleration of visual reading\u201d(106) Ciria tried to make the skin of the paintings transparent, to empty the landscape and figures, revealing the vertex that gave order to time.<\/p>\n
The specificity of the research that accompanies A.A.D is directed towards another vertex, very different from the one he was looking for during his experience in Rome, even if at that time the artist already showed a keen interest in \u00abadjusting the devices for reading the formal writing of a painting\u201d(107) and that implied becoming conscious of the recurring indexes for reading paintings throughout the History of Art. Along these lines a piece like \u201cSecond Dream Image\u201d (\u201cSegunda imagen del sue\u00f1o\u201d, 1996), forming part of the series, \u00abThe Dream of the Gaze\u00bb (\u201cEl sue\u00f1o de la Mirada\u201d), was created through a detailed analysis of the dialectical possibilities of visual compensation and it was resolved with certain visual operations that had an earlier model, as Ciria himself has indicated(108) in the Max Ernst painting titled \u201cThe Kiss\u201d (1927), from the Peggy Guggenheim collection in Venice. Essentially, in his reorganization of various elocutive levels Ciria directed the stains and drips towards a spatial rebalancing, quite similar to the Surrealist painter’s work.<\/p>\n
That experience pointed towards an intuitive development of what the artist today defines as the Alpha Alignment Dynamic. The pertinence of this example has been determined by Ciria’s recent recovery of the aforementioned piece by Ernst in order to explain some of the questions and possibilities generated by his new field of research. In this way, during the course of his interview with Jos\u00e9 Estefa Freire (which constitutes the most extensive written-transcribed documentation published to date with reflections by the artist himself on A.A.D.), the artist mentioned once again how this work’s mechanisms are exemplified. It is also interesting how these quite suggestive reflections made by the artist invert the utopian interest in directing the viewers reading that we indicated earlier in order to position himself as subject-receiver, and reconstruct the creative process of a painting made by another artist. \u00abIn this composition we can observe a couple in front of a horizon line, with a sky that does not reach the two-thirds mark. The feminine figure seems to be holding a baby and is simultaneously merged with a bird figure, typical of that period of Ernst’s career. The colors are intense and complementary, resolved with strong orange tones and earth tones and electrified cerulean blues. We can guess with a certain ease how the process of configuring the piece went. Once the compositional lines of the figure had been organized, the artist began to add tension to the piece through the dark areas created by shadows, a tension that is not even attained in the area with most light when he covers the shoulder and arm of the man with black. The painting is beautiful but it is not resolved. Ernst dares to paint the woman’s foot in the foreground in the lower right corner of the composition in a whitish flesh tone, and he automatically understands his ‘error’, given that it becomes the unrightful protagonist of the entire piece, with a certain nervousness, the painter seeks a solution to give balance and tension to the painting once again, he resorts to putting a little white paint at the top edge of the composition and then he later removes it with a brush or rag. It is amazing how everything is articulated, acquires magic and finds its place\u201d(109).<\/p>\n
This broad dissertation makes evident the extent to which Ciria deconstructs the History of Art and, by extension, his own work. Through the complex conceptual creation carried out with D.A.A. Ciria keeps demonstrating a theoretical enthusiasm that solidifies the basis of his pictorial creation, a conceptual reflection that implies the openness to complexity and the proliferation of discursive alternatives.<\/p>\n
As we have already seen, the re-reading of earlier formal models is a constant throughout the work of Jos\u00e9 Manuel Ciria, who values historical knowledge and the assimilation of tradition, as much as renovation through the experience that comes through practice. Among the key points of his artistic doctrine are the following; \u00abWe can affirm that there have been many artists and theorists that coincide in affirming that the history of art is a history of plagiarism and appropriation, advances and regression, the paternal and the filial, and this, despite how it may seem, is not at all negative\u201d(110).<\/p>\n
Nevertheless, when it comes to determining the dynamic of the key points of \u00abAlpha\u00bb the artist finds himself seduced by discovering unconscious processes, beyond premeditated quotation or appropriation, that recuperate certain devices and strategies. These \u00abAlpha\u00bb thus act almost as structures preceding the collective imaginary, determining strategies used in the pictorial tradition as fitting for visual writing. And, in the same way, within the framework delimiting figuration and abstraction that the artist is stretching in his latest work, Ciria shows a particular interest in those diagrams that find consonance through very different pieces in their referential attitude.<\/p>\n
In this predilection for dissecting a painting, regardless of its style, iconography, period or author in order to take apart the mechanism that activates it as visual writing, Ciria has come to fantasize about the possibility of a computer system capable of dealing with a pursuit of this type It would be a machine capable of catching \u00abAlpha\u00bb structures beyond the movements and rotations inherent in their dynamic mechanisms: \u00abI would love to be able to make a computer program capable of reading painting, and which would also be able to strip the painting bare leaving only those lines and gravitational points that configure the web of the composition; what we see in detective films about looking for fingerprints comes into my mind. We would be able to observe how a lot of apparently very different compositions contain a common structure and soul, given that the lines and points of weight exactly coincide or have a very similar form\u201d(111).<\/p>\n
A machine with the power to reject obvious matches and find a line that crosses time, space and memory. The result is that when the artist takes up the Alpha Alignment Dynamic as the conceptual basis of some of his work he is not following in the footsteps of appropriation. On the contrary, he is entering a much more complex current that flows through the dismantling of the mechanisms that make up the pictorial image in order to take them apart and then build them up again. It deals, therefore, with an archeological and deconstructive investigation posterior to the intelligible strata regulating the formal relationships of the painting.<\/p>\n
The artist finds himself at the beginning of a fascinating process of research, backed up by his ironclad ability to successfully explore the various epigraphs that footnote his evolution. And thus, at the end of this voyage through the work of Jos\u00e9 Manuel Ciria, we have returned to our starting point, which is to say, the field of conceptual reflection as the nexus of formal creation, a process begun with D.A.A and now transformed into A.A.D. Only a slight change in the acronym seems to separate both fields. However, what is at play is not a simple name change, but a display of painting’s resilience in the complex field of contemporary art, in addition to its flexibility as it continually traverses new conceptual spaces.<\/p>\n
<\/p>\n
<\/p>\n
1.Arthur C. Danto has pointed out that such declarations have always been made, paradoxically, at times when painting was in quite good health. DANTO, C. Arthur, \u201cLo puro, lo impuro y lo no puro: la pintura despu\u00e9s de la modernidad\u00bb, cited from, Nuevas Abstracciones. Museo Nacional Centro de Arte Reina Sof\u00eda, Madrid; Museu d’Art Contemporani, Barcelona, 1996, p 15.
\n2.LAWSON, Thomas. \u00abLast Exit: Painting\u00bb Artforum, 20, 2 (October, 1981), pp.40-47, collected in, WALLIS, Bian (ed.), Arte despu\u00e9s de la modernidad. Nuevos planteamientos en torno a la representaci\u00f3n. Akal, Madrid, 2001, p. 154.
\n3.FOSTER, Hal. \u201cThis Funeral is for The Wrong Corpse\u201d, cited from Spanish ed., Design and Crime and other Diatribes. Spanish ed. Akal, Madrid, 2002.
\n4.CARRERE, A., y SABORIT, J. Ret\u00f3rica de la pintura. C\u00e1tedra, Madrid, 2000, p. 39
\n5.\u00bbContemporary Art no longer seems \u00abcontemporary\u00bb, in the sense that it no longer has a privileged purchase on the present, not even \u00absymptomatically\u00bb, at least no more so than many other cultural phenomena.\u201d If the first principle of Art History is, as Heinrich W\u00f6lfflin once put it, that \u00abnot all things are possible at all times\u00bb this premise appears challenged in the present, for good and for bad…\u00bb, in FOSTER, Hal. \u201cThis Funeral is For The Wrong Corpse\u201d, Op.cit.
\n6.In a displacement analyzed in a clarifying way in GUILBAULT, Serge. De c\u00f3mo Nueva York rob\u00f3 la idea de arte moderno. Mondadori, Madrid, 1990.
\n7.DANTO, A.C., After the End of Art: Contemporary Art and the Pale of History, Spanish ed. Paid\u00f3s, Barcelona, 2002, p. 118. 8.\u00bbThe minimalists subverted modern theory, which at that time Greenberg’s followers put forth with great skill, by the simple procedure of taking it word for word. Modern Art didn’t deal with worrying about its own structures, thus the minimalists made objects without any reference beyond their own form.\u00bb LAWSON, Thomas. \u201cLast Exit: Painting\u201d, in WALLIS, Brian (ed). Arte despu\u00e9s de la modernidad. Nuevos planteamientos en torno a la representaci\u00f3n. Akal, Madrid, 2001, p. 155.
\n9.GREENBERG, Clement. \u201cRecentness of Sculpture\u201d, Art International, April 1967, pp. 19-21.
\n10.GUASCH, Anna Mar\u00eda. El arte \u00faltimo del siglo XX. Del posminimalismo a lo multicultural. Alianza, Madrid, 2000, p. 28.
\n11.UDD, Donald. \u201cSpecific Objects\u201d, in Donald Judd: Complete Writings 1959-1975, Halifax, Canada: Press of the Nova Scotia College of Art and Design, 1975, pp. 181-182.
\n12.KRAUSS. R. \u201cSculpture in the Expanded Field\u201d, cited from The Originality of The Avant-Garde and Other Modernist Myths. Cited from Spanish ed. Alianza, Madrid, 1996, pp.289-303.
\n13.Ib\u00eddem, p. 289.
\n14.GUASCH, Anna Mar\u00eda. Op. cit., p. 20
\n15.The 1981 show at the ARC\/Mus\u00e9e d’art moderne de la Ville de Par\u00eds titled Il se disent peintres, ils se disent photgraphes, (They are called painters, they are called photographers) was one of the earliest attempts at rethinking the flexibility of the artist’s position between both mediums. Which is to say, that a painter, designated as such by his habitual practice, would use other mediums besides canvas, in this case photography. Or it would include others who engaged in painting and photography at the same time, and lastly, those who working in photography, called themselves painters, despite not utilizing any medium similar to paint.
\n16.BAQU\u00c9, Dominique. La fotograf\u00eda pl\u00e1stica. Un arte parad\u00f3jico. Gustavo Gili, Barcelona, 2003, p. 45.
\n17.MONLE\u00d3N PRADAS, M. La experiencia de los l\u00edmites: h\u00edbridos entre pintura y fotograf\u00eda en la d\u00e9cada de los ochenta. Valencia: Instituci\u00f3 Alfons El Magn\u00e0nim, 1991, p. 13.
\n18.CRUZ S\u00c1NCHEZ, Pedro and HERN\u00c1NDEZ-NAVARRO, Miguel \u00c1. Impurezas, el h\u00edbrido pintura-fotograf\u00eda. Regi\u00f3n de Murcia, Consejer\u00eda de Educaci\u00f3n y Cultura, 2004, p. 103
\n19.Ib\u00eddem, p. 110
\n20.OLMO, Santiago B. \u201cLa importancia de seguir pintando\u201d, in Desde los \u201990, Sala Parpall\u00f3, MuVIM, Valencia, November 13, 2002 \u2013 January 11, 2003, p. 34.
\n21.DANTO, Arthur C. \u201cLo puro, lo impuro y lo no puro: la pintura tras la modernidad\u201d, Op. cit,, p. 19.
\n22.GARC\u00cdA BERRIO, Antonio and REPLINGER, Mercedes. Jos\u00e9 Manuel Ciria: A.D.A. Una ret\u00f3rica de la abstracci\u00f3n contempor\u00e1nea. Tf. Editores, Madrid, 1998, p. 27.
\n23.PAPARONI, Dementrio. \u201cLa abstracci\u00f3n redefinida\u201d, in Nuevas Abstracciones. Op.cit., p. 24
\n24.The three phases that the show brought together were: One Century of Contemporary Painting 1900 2000, After Reality: Realism and Current Painting, There is No Final Picture, Painting After 1968.
\n25. OLMO, Santiago B. Op. cit., p. 35.
\n26.Statement by Jos\u00e9 Manuel Ciria from a conversation with Carlos Delgado.
\n27.HONTORIA, Javier \u201cArtBasel, la madre de todas las ferias\u201d, in El Cultural, July 21, 2007.
\n28.GARC\u00cdA BERRIO, Antonio and REPLINGER, Mercedes. Op. cit., p. 41.
\n29.Towards the end of the eighties my painting was still figurative. I had made numerous experiments, trying to make the jump to abstraction, but the results were frankly discouraging. And I don’t mean that I didn’t \u00abunderstand\u00bb abstraction, when the truth is that some of those exercises were interesting and even appealing as far as the composition, color and texture go. They were experiments which, in some cases, I regret having destroyed. The main problem, seen with hindsight, is that I had classical training and I taught myself, and I didn’t have a way into abstraction. I never managed to \u00abconvince myself\u00bb with those compositions, I couldn’t understand painting as merely formal experimentation without meaning or direction. I wanted to make abstract painting but I was still stuck in figuration. The nightmare lasted approximately 2 years. The leap finally happened fairly naturally, in two ways. On one hand, I was working on a series called \u201cMen, Hands, organic forms and signs\u201d (\u201cHombres, manos, formas org\u00e1nicas y signos\u201d). That series, as its name indicates, was made up of four families or groups of work. The last two clearly had an abstract leaning that only had to be developed. And on the other hand, I had an honest necessity to generate a consistent theoretical basis for a string of conceptual concerns. In other words, my wished for leap into abstraction was granted, apart from the formal experiment in this sense, through the provision of a kind of theoretical \u00abcoat rack\u00bb or system that would permit me to develop an authentic field of experimentation. A lot of those theoretical concerns are collected in little notebook that has always been with me (…)\u201d.CIRIA, J.M. \u201cCuaderno de notas – 1990\u201d, in Jos\u00e9 Manuel Ciria. Limbos de F\u00e9nix. Galer\u00eda Bach Quatre. Barcelona, 2005, p. 139.
\n30.The Notebook has been re-published in Jos\u00e9 Manuel Ciria. Paisajes binarios, Galer\u00eda Fernando Sili\u00f3, Santander, 2003, pp. 77-120 and in Jos\u00e9 Manuel Ciria. Limbos de F\u00e9nix. Galer\u00eda Bach Quatre. Barcelona, 2005, pp.141-184.
\n31.\u00bbThe surprising thing about the grid is that, despite it enormous efficacy in symbolizing freedom, it’s extremely restrictive as far as the real exercise of liberty goes.\u00bb KRAUSS. R. \u201cThe Originality of the Avant-Garde\u201d, in The Originality of the Avant-Garde and Other Modernist Myths. Spanish ed. Op. cit., p. 174.
\n32.GARC\u00cdA BERRIO, Antonio and REPLINGER, Mercedes, Op. cit., p. 104.
\n33.KRAUSS, R. Ib\u00eddem.
\n34.GARC\u00cdA BERRIO, Antonio and REPLINGER, Mercedes, Op. cit., p. 99.
\n35.CIRIA, Jos\u00e9 Manuel. \u201cReductor de miradas (Compartimentaciones)\u201d, in Glance Reducers. Compartimentations. Athena Art Gallery, Kortrijk, 2000.
\n36.Julio C\u00e9sar Abad Vidal has remarked, in response to the work of Jos\u00e9 Manuel Ciria shown at the Salvador D\u00edaz gallery in Madrid between September and October 2000, \u00bb likewise, we could designate a new category or compartmentalization arising in the artists latest work, in which regular aluminum structures, arranged lengthwise, cross the support, be they compartmentalized or not, to enclose and bind found and selected objects, like a slipper, the plastic bag indicative of a shopping center, or stuffed animals\u00bb. ABAD VIDA, J.C \u201cLa forja de lo informe\u201d, in Glosa l\u00edquida. Galer\u00eda Bores & Maallo, C\u00e1ceres, 2000. 37.GARC\u00cdA BERRIO, Antonio and REPLINGER, Mercedes. Op. cit., p. 189. 38.IRIA, Jos\u00e9 Manuel. \u201cEl tiempo detenido de Ucello y Giotto, y una mezcla de ideas para hablar de automatismo en Roma\u201d, in Jos\u00e9 Manuel Ciria. El tiempo detenido. TF, Madrid, 1996, p. 29. 39.HUICI, Fernando: \u201cBajo la piel\u201d. Exhibition catalogue, Adage. Galer\u00eda Afinsa. Madrid, January-February, 1993, p. 4. 40.GARC\u00cdA BERRIO, Antonio and REPLINGER, Mercedes. Op. cit., p. 88. 41.Statement by the artist included in, TOWERDAWN, Joseph: Pl\u00e1stica y sem\u00e1ntica (Conversaciones con Jos\u00e9 Manuel Ciria), in Quis custodiet pisos custodes. Galer\u00eda Salvador D\u00edaz, Madrid, 2000, p. 43. 42.CIRIA, J.M.: \u201cEspacio y luz (Anal\u00edtica estructural a nivel medio)\u201d in Jos\u00e9 Manuel Ciria. Espace et lumi\u00e9re. Artim Galer\u00eda, Estrasburgo, 2000, p. 56. 43.SOLANA, Guillermo. \u201cEpifan\u00edas\u201d, in Jos\u00e9 Manuel Ciria. Galer\u00eda Salvador D\u00edaz, Madrid, September, 2007. 44.That kind of appropriation is nothing new for Jos\u00e9 Manuel Ciria. Throughout his career he has engaged in quotations, allusions and homages to diverse artists including Giotto, Piero della Francesca, Zurbar\u00e1n, Duchamp, Joseph Beuys or Markus L\u00fcpertz, among others. 45.CIRIA, Jos\u00e9 Manuel. \u201cNueva York, estados de \u00e1nimo, el momento figurativo, Malevich y Zuloaga\u201d, in Ciria. El due\u00f1o del tiempo. Galer\u00eda Pedro Pe\u00f1a, Marbella, 2006, p. 12. 46.ABAD VIDAL, Julio C\u00e9sar. \u201cPinturas construidas y figuras en construcci\u00f3n\u201d, en Ciria. Pinturas construidas y figuras en construcci\u00f3n. Sala de exposiciones de la Iglesia de San Esteban, Murcia, 2007, p. 41. 47.\u00bbIt happened that shortly after my arrival in Manhattan, I was no longer capable of observation, and I set out on the homage to Malevich from his earliest compositions (\u2026): The return to line, to structure, to Drawing.\u201d CIRIA, Jos\u00e9 Manuel. \u201cVolver\u201d in B\u00fasquedas en Nueva York. Roberto Ferrer, Madrid, 2007, p. 45. 48.Regarding Malevich’s recasting of the art of Icon painting we refer to DUBORGEL, Bruno. Malevich. La question de l\u2019ic\u00f4ne. Publications de l\u2019Universit\u00e9 de Saint-\u00c9tienne, 1997. We must recall, on the other hand, that the painter had originally titled his Black Square \u00bb Nude Icon of Our Times.\u00bb 49.CIRIA, Jos\u00e9 Manuel. \u201cVolver\u201d. Op. cit. 50.A. Garc\u00eda Berrio and T. Hern\u00e1ndez have reflected upon the presence of symbolization in non-figurative painting: \u00abFrom a communicative-semantic point of view, non-figurative tendencies taken as a whole, which constitutes the core of what is called Modern Art of our century, is founded on conscious and sub-conscious references to some form of reality. At times it was more tangible and immediate, with a radicalized system of representation, other times more recondite and subconscious, and on occasion the most essential (…), not even the most extreme forms of abstract formalism avoid to some degree, minimal as it may be, the inevitably symbolic foundation of the Visual Arts.\u00bb GARC\u00cdA BERRIO y HERN\u00c1NDEZ, T. Ut poesis pictura. Po\u00e9tica del arte visual. Tecnos, Madrid, 1988, pp. 83 and 84. 51.REPLINGER, Mercedes. \u201cEl pintor en Nueva York\u201d, in B\u00fasquedas en Nueva York. Op. cit., p. 31. 52.b\u00eddem. 53.We will take \u00abrare\u00bb in the sense of \u00abraw\u00bb and \u00abunfinished\u00bb as the two most coherent estimations of Ciria’s intentions. The aforesaid heterogeneity is patently apparent in Des tours de Babel (1985) by Jaques Derrida, in which he indicates that there is no original to the translation, and likewise there is no translation without some remaining untranslatable part. In other words, all translation involves a gain and a loss. 54.ROSENBERG, Harold. \u201cThe American Action Painters\u201d, Art News, LI, n\u00ba 8, December, 1952, p. 22. Taken from SANDLER, Irvin. The Triumph of North American Painting,. A History of Abstract Expressionism. Cited from Spanish ed., Alianza, Madrid, 1996, p.287. 55.LEVI-STRAUSS, C. Lo crudo y lo cocido. Fondo de Cultura Econ\u00f3mica, M\u00e9xico, 1968, p. 332 56.GARC\u00cdA-BERRIO, A., and REPLINGER, M. Op. cit., p. 23. 57.DELEUZE, Gilles. The Logic of Sense. Paid\u00f3s, Barcelona, 1989, p. 26. 58.\u201cThe Medusa\u2019s decapitated head could symbolize the triumph over the metaphysics of representation, as it defeats the perspective which fixes the contingent and the dynamic in an image.\u201d \u00daBEDA FERN\u00c1NDEZ, M\u00aa Elena. La mirada desbordada: el espesor de la experiencia del sujeto est\u00e9tico en el marco de la crisis del r\u00e9gimen esc\u00f3pico.(The overwhelmed look: the thickness of the experience of the aesthetic subject in the framework of the visual regime) Unpublished doctoral thesis. Granada, 2005, University of Granada, p. 267. 59.FREUD, S. \u201cOn Transience\u201d in Complete Works. Biblioteca Nueva, Madrid, 1981. 60.BOZAL, Valeriano. Pintura y escultura espa\u00f1olas del siglo XX: 1900-1939. (20th-Century Spanish Painting and Sculpture:1900-1939), Madrid, Espasa Calpe, 1992, p. 284. 61.CIRIA, J.M. \u201cRetazos (El miedo al rojo de las bestias) or \u00abOdds and Ends (The beasts\u2019 fear of red)\u201d. Unpublished text appearing in ABAD, Vidal. Pintura sin h\u00e9roe. (Painting without a hero). Op. cit., p. 260. 62.St. Paul, Romans VII:7 63.Taken from JULIUS, A. El arte como provocaci\u00f3n. Destino, Barcelona, 2002, p. 221. 64.CARRERE, A., and SABORIT, J. Ret\u00f3rica de la pintura. Op.cit., p. 210. 65.\u00bbTo bring this out, I started to think about hanging my portraits upside down, even though I would have become Baselitz, but with the sole intention that people look at them as paintings\u00bb, in VICENTE, Mercedes. \u201cChuck Close, Reinventar el retrato\u201d, L\u00e1piz, n\u00ba 145, 2000, p. 44. 66.CALVO SERRALLER, F. Los g\u00e9neros de la pintura. Taurus, Madrid, 2005, p. 363 67.RODR\u00cdGUEZ MAGDA, Rosa Mar\u00eda. \u201cTransmodernidad; La globalizaci\u00f3n como totalidad transmoderna\u201d, Revista Observaciones Filos\u00f3ficas. August, 2006. Article available at www.observacionesfilosoficas.net\/transmodernidad00.pdf 68. We will make a thorough investigation in the last chapter of this text regarding the importance of the conceptual enquiry that the artist has referred to as Dynamic Alfa Alignments. 69.This is just what happens in his approximations to such genres in \u00abLaGuardia Place\u00bb, even if the artist had recovered the feeling of material transitoriness that characterized the baroque still-life in earlier pieces such as \u201cVanita (Get up and Go)\u201d \u201cVanita (Llev\u00e1ntate y anda)\u201d from 2001. Which is a surprising work where the history of painting itself, referencing a range work going from 17th century Dutch painting to Yves Klein, is what reveals its ephemereality. 70. Such careful placement, which is part of the genre, has made some observers believe that artists like S\u00e1nchez Cot\u00e1n may have used mathematical ratios to determine the placement of the objects represented. see CALVO SERRALLER, F. Op. cit., 292. 71. ARNHEIM, R. Arte y percepci\u00f3n visual. Alianza Forma, Madrid, 1979, p. 500. 72.Regarding this see FURI\u00d3, Vicen\u00e7, Ideas y formas en la representaci\u00f3n pict\u00f3rica. Anthropos, Barcelona, 1991, pp. 47-54. 73.ABAD VIDA, J.C Ciria. Pintura sin h\u00e9roe. T.F, Madrid, 2003, p. 89 74.LACAN, Jacques. Los cuatro principios fundamentales del psicoan\u00e1lisis: seminario XI. Barral, Barcelona, 1977, p. 95. 75.b\u00eddem, p. 96. 76.MART\u00cdNEZ-ARTERO, Rosa. El retrato. Del sujeto en el retrato. Montesinos, Barcelona, 2004, p.261. 77.REPLINGER, Mercedes. \u201cEl pintor en Nueva York\u201d. Op. cit., p. 32. 78.\u00c9PICOUCH\u00c9, Michel Hubert. \u201cDesde la luz de Monfrag\u00fce hasta el color en los cuadros de Jos\u00e9 Manuel Ciria\u201d. Monfrague. Emblemas abstractos sobre el paisaje. Museo Extreme\u00f1o e Iberoamericano de Arte Contempor\u00e1neo, Badajoz, March-May, 2000, p. 55. 79.The landscape is not, however, what is there before us, it is a concept invented or, rather, a cultural construction. The landscape is not a physical place but rather a series of ideas, sensations and feelings that we create with the place as a starting point.\u00bb MADERUELO, Javier. El Paisaje. Actas del II Curso Huesca: Arte y Naturaleza. Huesca: Diputaci\u00f3n de Huesca, 1997, p. 10. 80.P\u00c9REZ, David. \u201cEl documento incierto: la naturaleza entre el signo y el artificio\u201d. PER\u00c1N, Mart\u00ed and PICAZO, Gl\u00f2ria (editores), Naturalezas. Una traves\u00eda por el arte contempor\u00e1neo. Consorci del Museo d\u2019Art Contemporani de Barcelona, 2000, p. 235. 81.Conversation between Jos\u00e9 Manuel Ciria and Carlos Delgado. 82.CIRIA. J.M. \u00abSigno sin orillas\u00bb, in ABAD VIDAL, J.C Ciria. Pintura sin h\u00e9roe. Op. cit., p. 242. 83.LACAN, Jacques. Op. cit, p. 81 84.Ib\u00eddem, p. 82 85.Ib\u00eddem. 86.Ib\u00eddem, p. 93 87.Ib\u00eddem, p. 103 88.KRAUSS, R. The Optical Unconscious. Cited from Spanish ed.; Tecnos, Madrid, 1993, p. 198. 89.FOSTER, Hal. The Return of the Real: the Avant-Grade at the end of the century. Cited from Spanish ed. Akal, Madrid, 2001, p. 143 90.CRUZ S\u00c1NCHEZ, Pedro and HERN\u00c1NDEZ-NAVARRO, Miguel \u00c1, Op. cit., p. 144. 91 LACAN, Jacques. Op. cit., p. 108 92.See HERN\u00c1NDEZ NAVARRO, M.A. \u201cEl arte contempor\u00e1neo entre la experiencia, lo antivisual y lo siniestro\u201d, Revista de Occidente, n\u00ba 93., February, 2006. 93. Ib\u00eddem. 94.CRUZ S\u00c1NCHEZ, Pedro and HERN\u00c1NDEZ-NAVARRO, Miguel \u00c1, Op. cit., p. 148 95.SOLANA, Guillermo. \u201cMarias o el cuerpo desollado de la pintura\u201d, in Jos\u00e9 Manuel Ciria. Visiones Inmanentes. Sala Rekalde, Vizcaya, December 2001 \u2013 January 2002, p. 22. 96.REPLINGER, M. Op. cit., p. 31. 97.WAJEMAN, Gerard. \u201cNarciso o El fantasma de la pintura\u201d, in Arte y Fantasma, Chapvallon, Par\u00eds, 1984, pp. 107-126 98.LACAN, Jacques. Op. cit., p.83. 99.Statement by Jos\u00e9 Manuel Ciria collected in SOLANA, Guillermo: \u201cSalpicando la tela del agua\u201d, in Squares from 79 Richmond Grove, MAE and SEACEX, Madrid, 2004, p. 39. 100.Regarding this see \u201cLa lectura de la imagen\u201d, in FURI\u00d3, Vicen\u00e7. Ideas y formas en la representaci\u00f3n pict\u00f3rica. Op. cit., pp. 135-147. 101.\u201cConversaci\u00f3n de Juan Estefa Freire con Jos\u00e9 Manuel Ciria\u201d, in Jos\u00e9 Manuel Ciria. Limbos de F\u00e9nix. Galer\u00eda Bach Quatre, Barcelona, November-December, 2005, p. 99. 102. Ib\u00eddem, pp. 95-96. 103.For an exhaustive account of rhetoric in the visual arts see: GARC\u00cdA BERRIO, A. and HERN\u00c1NDEZ, T. Op. cit. In GARC\u00cdA BERRIO, A., and REPLINGER MERCEDES, have made an analysis based on the rhetorical methodological model of Jos\u00e9 Manuel Ciria’s abstract work from the nineties. Op. cit. 104.\u201cConversaci\u00f3n de Juan Estefa Freire con Jos\u00e9 Manuel Ciria\u201d. Op. cit., p. 98 105.CIRIA, Jos\u00e9 Manuel. \u201cEl tiempo detenido de Ucello y Giotto y una mezcla de ideas para hablar de automatismo en Roma\u201d. Op. cit., p. 28. 106.Ib\u00eddem, p. 28 107..GARC\u00cdA BERRIO, A., and REPLINGER, M. Op. cit., p. 171 108.Ib\u00eddem. 109. \u201cConversaci\u00f3n de Juan Estefa Freire con Jos\u00e9 Manuel Ciria\u201d. Op. cit., p. 96-97 110.IRIA, J.M. \u201cFragmentos de la mirada subjetiva. Una posible defensa de la pintura\u201d, in Instersticios. Fur Printing, Madrid, 1999, p. 37. 111.\u201cConversaci\u00f3n de Juan Estefa Freire con Jos\u00e9 Manuel Ciria\u201d. Op. cit., p. 96.<\/p>\n
<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Carlos Delgado. Foundation Carlos de Amberes. Madrid. III (Continuation of ‘Carlos Delgado. Fundacion Carlos de Amberes. Madrid. II’) Within the context of his recent return to referential iconography, the figure has been presented, (as already seen in the \u201cPost-Suprematist\u201d (\u00abPost-Suprem\u00e1tica\u00bb) and \u00abLa Guardia…<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/pages\/8736"}],"collection":[{"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/comments?post=8736"}],"version-history":[{"count":5,"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/pages\/8736\/revisions"}],"predecessor-version":[{"id":11276,"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/pages\/8736\/revisions\/11276"}],"wp:attachment":[{"href":"http:\/\/joseciria.com\/english\/wp-json\/wp\/v2\/media?parent=8736"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}