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LESARGOTS www.lesargots.com

Design: Estudi Prats www.estudiprats.com Prologue: Pedro Meyer www.pedromeyer.com

Prologue translation: Alicia Pallas www.aliciapallas.blogspot.com

© Fernando Prats www.fernandoprats.com © Miguel Ruibal www.miguelruibal.org

© Prats/Ruibal www.prats-ruibal.com

First edition: December 2009

ISBN 978-1-4452-1060-5

Printed in Spain

ink and diaphragm

Let's see, this is about the work by two friends, whom I have never seen in my life, but only met through epistolary and work exchange via the Internet. Fernando Prats lives in Barcelona, Miguel Ruibal in Terrassa, and I in Mexico City. Combination whose coordinates right from the start reveal a new way for possible encounters in this 21st century. Distances and time zones (them being across the Atlantic) do not matter anymore. Information and ideas flow, according to each one's schedules and daily routine.

Of course we share many interests, which is the reason why friendship had a fertile space to grow. I hope the same happens to you readers with Ruibal and Prats, as you get to know the features of their work.

The essay I am referring to was developed in the course of eight weeks, throughout which the two artists exchanged about a hundred works, until they finally gathered together the couples featured here. They ask, they told me, for each reader to formulate his/her own associations to find their own weft (and traumas, I would add). Nevertheless, I am not satisfied by that answer, that of leaving us to our own devices to solve the plot.

Therefore, I have no option but contributing with my own interpretations, which should be understood only as that, as just my personal interpretation.

The fact that they have not numbered the pages in order to cite a particular work makes me think they see their works as a continuum, and they seemingly took to the task of making couples on each page consistent. I found

a great visual and stylistic coherence, not only between pages but also throughout the whole set of 28 images. This is, the consistence is not only horizontal but also longitudinal.

Such sustained coherence is not easy to achieve. Resonances are maintained at various levels: textures, traces and volumes complement each other very carefully; nothing has been left without consideration.

I find it a very fortunate decision to keep the photograph always on the same side of the right page, and a great skill for work editing can be appreciated.

What are the risks we must face when thinking of buying Prats and Ruibal's work? Because that's what this is about. Apart from the unavoidable compromise with culture, and their creative abilities. What this is about is opening new ways to deal with habits and customs to purchase artwork through many innovative ways, by the two respected and acknowledged artists from the River Plate region established in Catalonia.

Their intention, as far as they have told me, is contributing to the debate between digitally distributed work (blogs, web sites, social networks, etc) and work as a physical presence, tangible and susceptible to be handled in the three-dimensional world; and achieving that without the dependence of intermediaries (galleries, publishers, etc). This objective is of great interest for every artist, wherever we are. We are all urged to find practical models to bring artists and collectors together, by doing so reducing distribution costs associated with the old circulation models.

One of the essential links in this transition towards new operating schemes is the issue of trust in this Internet era. Forestalling this doubt is important, as eBay or Amazon, among others, have learned so well.

And the solution lies in understanding that, in the Internet era, news travel around the world at the speed of light through the optical fiber arteries of the global networks. Soon it would be known if my friends' marketing strategies should not stand up to what they offer, and thus would fall from the esteem of those who trusted them and all their efforts. As in their case it seems absurd, I rule that possibility out.

The present volume is intended to be printed on demand. There will be different versions to give a chance for everyone to participate according to their purchasing power, nowadays decreased, and thus be able to acquire these works, namely: the printed book; the book autographed by the authors and accompanied by two small works; the book autographed by the authors as part of a special A3 folder with six engravings (three by Fernando and three by Miguel). The project can also be seen through social networks such as Facebook, Flickr, MySpace, Twitter and its own website: lesargots.com.

To conclude, we can say that Objects Subjects has found a happy marriage, a four-handed and four-eyed encounter, where we could even advertise in our Internet circus that paying is no longer required for seeing, and that you will find splendid works, half drawing and half photograph, and in this case without the need for any illusionist trick except the one already installed in every visitor's mind. Now, if you wish to take the whole program (the book) for a very moderate price thanks to new technologies, you can easily purchase it at lesargots. com/web/objectes-subjectes.

Thank you very much!

Pedro Meyer Coyoacan, Mexico DF October 9th, 2009.

"the game of landscape is played"

"now we're certain that shadows pursue their curves"

"eyes fixed on what cannot be seen"

"fragile, determined to remain, the arch of days"

"whose echo is it that we account for?"

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• •

"/ J\ -.

"some things are built from the inside and sidewards"

"at the same time, the gaze breaks the glass and speaks out"

"the space of our sleeplessness is uncertain"

"there seems to be a vertical axis in all this"

"it might be said: hands lacking sills"

"someone asks: which air do these glasses cut?"

"the shadow hangs from its landscape"

info@lesargots.com www.lesargots.com

"closing exercise: always being there"

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