“Tailor Boat”, from Mimesis to Representation.
Exodus Drama and Iconic Representation in Guerrero’s Post-Modern Art.
MIAMI, Florida. January 16, 2015 – The Cuban Art Project – When I met Antonio Guerrero through Facebook network I met first of all his artwork before meeting the person. I wonder then if meeting artwork were seemingly meeting person itself. I found myself remind one of most prominent scholars in America debate on Aesthetics, recently sadly late Arthur C. Danto who conceives artworks to be treated as part of the person needless to mention reminiscences to French sociologist Emile Durkheim appraisal of social facts as things.
In the same tone Arthur C. Danto is affirmative and resolute when integrating a very same module in which person and artwork are the same concluding that Danto assimilates person into artwork with its plausible correlate. Whence, having met Guerrero means meeting, knowing, and learning of his artwork and vice versa. Art and Life, World and Art, are totally entities integrated if thinking of wholeness under Leibniz’s law of indiscernibles. However, Art and life integration leads to an unfinished controversy known as Art-Life dilemma.
This dichotomy pertains to History of Art since aesthetic question arise in that history. Concerning Art versus Life dichotomy Arthur C. Danto enters in history of art and history of philosophy after publishes in 1964 his seminal essay “Artworld” where Danto carves on differential between art and object. We got reminiscences here of W.V.Quine 1960 epoch-famous book Word and object.
Mimesis is the essence of art according to Aristotle. It is present in every artwork created since Cro-Magnon Stone Age Cave man to Western Modern Avant-garde. Guerrero knows perfectly how deep this journey compromises his whole work, particularly after his Ethiopian experience in which he was in contact with archival portions of pre historical and historical and Ancient times. He remembers with nostalgia enormous overwhelmed African landscapes experience when he wandered on Sudan flats while serving relocated in Ethiopian war after been drafted in Cuban Army during 80s.
Main drama in Guerrero life is positioned face to face with Exodus. Cuban people experience three important immigration tragedies during Revolution period. In 1965, a huge amount of people left Camarioca port for Miami. During 80s the most massive escape was concentrated ion Mariel Harbor where most than a hundred of thousand people immigrate to United States, and the last one happened when the known as Cuban Balseros Rafter Crisis left Cuba through Guantanamo Bay American Military base in 1994. Guerrero suffered and learned from this dramatic episode in his life he has represented in this series particularly in a dramatic piece titled “Carrying out his own Destiny” 2014, a mixed media on paper that shows a human-like figure having on shoulders an imaginary boat loosened into the ocean. However, he “never regretted what he did” as he affirmed multiple times in different places. He has assumed with courage his essential decision that radically changed his life. Guerrero participate into democratic values of new society where he now lives and where he reinvented himself. Man versus Nature, and Escaping from political reality are the central topics in Guerrero’s exhibition.
“History of Art has ended.” That’s what Arthur C. Danto has affirmed. Danto’s dictum corresponds to Post Modern conception of art where Hegelian perspective play a central role in contemporary aesthetic reflexion. In this account there is no “a priori” fundamental categories or essences in Kantian sense. According to Danto, who made up his mind from Kantian to Hegelian aesthetic, artworks subordinate the context they are placed and the time they originate and when they create. Art become context-dependent like Duchamp ready-mades (e.g.”Fountain 1917”).
In the same vein of Warhol’s gesture of Brillo Box artwork exhibited in a Gallery of Manhattan, NY., in 1964 , now, with this remarkable exhibition entitled “Taylor Boat,” Antonio Guerrero tries to reproduces the same idea. Guerrero exhibition is not mimetic. He is very far from Warhol’s but the intention is similar. Nevertheless, while Warhol’s intention is ironical, Guerrero’s is tragic. Why?, Why Guerrero’s intention is tragic? It is dramatically vivid because Guerrero went through the horrible experience of leaving his country by boat on the ocean. He fights against waves.
However, beyond any Western Progress of Aesthetic there is another ahistorical conception of that huge Western fork. Resemble Joseph Kosuth’s Art as Idea program was radically strategy implemented by a American artist during 70s to deal with end of art after Minimalist revolution. Having learned these…
by Art Critic: Alberto Mendez