English
In the introduction to the show written in the form of a letter to myself (unfolded into two, like a good Gemini: as critic Luis Felipe Noé who addresses the painter of the same name), I carry out a self-critique regarding successes and failures dealing with my intention to take on chaos. The exhibition itself was a large installation: the sum and contiguity of the works, complex in and of themselves, gave the impression that it was one single work. However, three installations strictly speaking dominated the scene: the previously mentioned Introducción al desmadre (Introduction to Chaos), Así es la vida señorita (this last one made in Buenos Aires, was there in spite of how difficult it was to transport, and I thought the title was more attractive translated into English: That’s life, Miss) and a very particular one to which I also alluded: Balance 1964-1965, constructed (or rather deconstructed) through accumulation—mainly on the floor—of many works produced during those years. This work corresponded to a conviction of mine: in order to cover what was contextual for me, what I was experiencing as chaotic, and be able to take it on, the problem had to be made increasingly complex. As a result, every work was simply a partial trial for the next. In addition, I showed works that had been gradually preparing the present moment that I found myself in: Mambo (1962), Autorretrato (Self-portrait, 1963), El incendio del Jockey Club (The Jockey Club Fire, 1963) and Lucifer and his pals visit Greenwich Village (1964), among others.
Account by Luis Felipe Noé included in the book "Mi viaje-Cuaderno de bitácora" (My Voyage – Logbook, 2014).
