NÉSTOR SANMIGUEL DIEST
February 10 - June 10, 2012
Autoedición [Samizdat] offers a reflection on the practice of painting as a language in relation to texts linked to notions of work, time and the interruption of meaning in a society built on the basis of the distribution of messages.
The show brings together a selection of works produced between 1992 and 2012, more than 600 historic pieces if we take into account the elements which make up series such as El descenso del buscador de perlas (2006-2007), Libro para Manuel y el segundo nombre de las cosas (2009-2010), Las fuerzas sutiles (2007) and Historias secretas (1999-2005).
As we examine each piece we can guess at the method. Each work is made up of layers, textures which play with the notion of transparency, opacity, and the concept of limit. The gaze is always interrupted by fragments and “accidents”, which prevents not only contemplation but also reproduction; both actions are doomed to loss and disappearance.
Time becomes the theme and the mechanics, emerging as a paradox between what is happening –the sequence – and what is simultaneous –superposition-. The days accumulate and are repeated, becoming blurred , a similar sensation to that evoked when we face a series of paintings neatly piled up, when individual contemplation will bring us closer to the particular, to the dialogue between the repeated and dissident.
Each work seems to follow la logic we have not been told about, such as the hidden dynamics used by Raymond Roussel and the members of the Oulipo literary group, certain artistic practices of the 1960s and the surrealist group whose members seek “automatic” formulas to free themselves from consciousness, but also from the mechanisation of interior constructs, that which has been “learnt”.
Literary references, painting as action and analysis, the fragment, Picabia, the notes on the margin, the forms… all that is written is less than what could have been said.
Néstor Sanmiguel Diest, (Zaragoza, 1949), lives and works in Aranda de Duero. At first, his art practice revolved around actions, documents, paintings, texts and manifestos linked to collectives such as A Ua Crat and Red District; his relevant role as founder and promoter is linked to his closeness to the trade unions and communist movement. In the 1990s he began to focus exclusively on the medium of painting, displaying his works in spaces such as Trayecto Galería, since 1989, and the MUSAC (2007), as well as taking part in the recent show Locus Solus. Impresiones de Raymond Roussel at the Museo Reina Sofía (MNCARS).