Professional Documents
Culture Documents
© 2009-2015
MASSES
The lighter is itself an experience, the metaphor, syncretised, of my
own expression like a social individual. Gathers two apparently non-
related elements: The blood, which has a wide diverse readings
(violence, genetic inheritance, historic roots, family, hate, passion,
death) enclosed in the recipient that does the lighter, which does
not represent anything but a detonation device is the second
element. But here’s where a third element comes in with a symbolic
charge, mystified:the fire (the capacity, the power, the energy,
the combustion), implicit into the physic metaphor as a potential 2008-2009
element.
嚴格地說,質量猶如一種心理原素,不需等到個體出現在質
量構造中才能確定。當一個個體出現時,我們可決定他是不
是「質量」。質量是所有那些不在本身的好或不良的基礎上
之具體理由上設定價值,但卻感覺自己「就像大家」,雖然
它不被關注;事實上,很高興能感覺到自己如同一個與其他
人在一起的人 。
何塞•奧爾特加和加塞特,群眾的反抗 P.67
“Farenheit”. Galería [e]star. Lima, Perú. Agosto 2010. Photo: The Fire Theory.
MIDNIGHT
Variables measures
Two human sculls on fire.
Photography, video.
SUNS
happen. We are dying all the time, every
second. Fight against this ways of death
is part of our way to live. We should
be predisposed to take the death and
resurrection as part of the everyday, as
a necessary atmosphere to understand
our memory. Does people think about
to build re-thinked perspectives of
trascendence and legacy beyond death?
2014 Do we reach a metaphisycal heritage
trough nostalgia and through poetic of
memory?
我們每個呼吸之間,每個思想中都
存在著重要性的允諾,也包括如果
我們不尋找如何實踐它。我們每一
個時間,於每一秒當中都在死亡。
與這些死亡的方式搏鬥是我們生活
方式的一部分。我們必須預先準備
就緒將死亡和復活當作我們日常每
一天的一部分,如必要的氣氛來了
解我們的記憶。人們想要創立從新
思考過俱重要意義的遠景及死後的
繼承物嗎? 我們經由鄉愁及記憶的
詩學尋找玄學的繼承嗎?
[ WATCH IT ONLINE ]
2010
Variables measures
Steel reinforced. Gas hose. ditch. In Situ Installation.
Construction of pipe: Raul Torres. Comisioned by Space 556.
The promise of the limit as a warning stated and intimidating, but at the same
time, something contemplated, with hypnotism and beauty, strength, mysticism
and magic. Emotional relationships of internal spaces and spatial speculations of
the possible and the impossible.
限制的應允就如公開的及恐嚇的警惕,但同時,猶如被美麗與催眠、力
量、神秘與魔法覆蓋住的某物。內心世界的情感關係及可能與不可能的
太空理論。
THELIMIT
[ CLICK TO WATCH ONLINE ]
限制
Espacio 556. Ciudad de Guatemala, Guatemala. Diciembre 2010.
Photo: The Fire Theory.
COLLECTIVE 集体
2mx2mx2m.
Restricted space with wire, razor, bones, ground, ashes.
IMAGINARY
Collective Imaginary is a portrait of accumulation and deterioration.
A scheeme of poetical relations, political and historical representing a visual and
restricted composition.
集體假想是累積和毀壞的真實寫照。
假想
一個詩學、政治及歷史關係的圖型代表著限制性的視覺結構。 2014
STUDY ABOUT THE CONSTRUCTION OF MEMORY Variables measures
2012
研究
A carpet of dried leaves with dates written on their surfaces.
In nature, when the trees change foliage, the simple phenomenon is a small
and dialectic poetic that allows a dialogue with the fragility, renewal, time,
关于
forgetfulness, promises. I point there, to this fragility, towards these internal
times of the people, where we are always subject to the construction of our lives
through the constant confrontation between memory and forgetting.
於大自然中,當樹木更新它的枝葉,這簡單的現象是允許與脆弱、更
新、時間、遺忘、承諾對話如詩般的辨証。我要指出這一點,這脆弱,
人類的內在季節,於此我們需經由記憶和遺忘之間不斷地對抗以建造我
們的人生。
View of the installation at the group exhibition “Transmigraciones” at the Cultural Center of Spain of El Salvador. June 2013. Photo: The Fire Theory.
2010/2014
Variables measures
Dinning set (four chairs and table) incinerated with oxyacetylene torch, placed in
the middle of an empty space.
放置在中央的餐桌組如同會議空間,如同家庭交流中心,我覺得若將它
推斷至更複雜的領域上是非常有意義的,如思想的範圍,作為內部對話
發展的區域的一部分。
对话
DIALOGUES
轻微的星座
MINOR
CONSTELLATIONS 2014
自1928年起,國際天文學協會(UAI)決定正式重新以美麗的範圍將天體
組合為88個星宿,如此天空中的每一顆星星都在一個形狀的範圍內。該
年之前,其他的微小的星座是被人所認識的,但之後就被遺忘了;很多
已記不起來了。
這是天空製圖學的新占據點練習,正視不同的事實,不光只是背景的,
也要包括內在的事實。
畫在那些看不見的破壞上
Photo: Tobrook Photography.
I find the presence of a media culture scenario the right place to
highlight subconscious processes related to the construction of
collective and personal memories.
Variable Measures.
Public intervention. Crashed, rusty, burnt
Mustang car taken from a local scrap yard
with the sits softly flaming along the night with
kerosene and motor oil.
Hablar del olvido fue mi manera de plantear un escape del ser, y a la vez, un
retorno al ser. Comenzar de una situacion inevitable, perpetrar un puente fisico,
un signo social entre las dimensiones del olvido y el pensamiento. Exponer
nuestra condicion de contenedores efimeros de realidades infinitas que pueden
morir en cuestion de segundos. Que la memoria es una dimension colectiva en la
que invitamos y somos invitados a la utopia de lo eterno.
說到遺忘是我提議一個人解脫及同時回歸的方式。 一個無法避免的情況
開始後便延長身體與思想之間的橋樑,是遺忘和思想層面之間的社會象
徵。呈現我們短暫肉體狀態於剎那間消失的無限事實上。記憶是我們邀
請並被邀請的永恆烏托邦集體空間。
健忘的起源
ORIGIN OF
FORGETFULNESS
2014
Photos: Mauricio Esquivel.
新诺言
New Promises is a literary project with visual applications. Ask phrases and its
content on traveling street showcases situations. That allows to points to an
NEW
audience which their diversification is highly targeted. There are rich and diverse
atmospheres in these moments that one of these vehicles continuously transits
(customs borders, cities, shops, highways, roads, etc.), I try to propose poetry to
a collective thought that, among to be thoughtful about ordinary things, doesn’t
stop to be intimate. Thus, I can propose, trough all of this, one (or many) new (s)
starting point (s)...
PROMISES
frases y su contenido viajando en situaciones de escaparates ambulantes permite
dirigirse a un público cuya diversificación es muy específica. Existen atmosferas
ricas y diversas en estos momentos por los que uno de estos vehículos transita
continuamente (fronteras de aduanas, ciudades, talleres, carreteras, caminos,
etc) , procuro proponer poesía a un pensamiento colectivo que por demás de
ser reflexivo sobre cosas comunes, no deja de ser íntimo. De esta manera, me
es posible proponer, a la vez, uno (o muchos) nuevo(s) punto(s) de partida...-
新諾言是採用視覺效果的文學計劃。擬定短句及它的內容並以活動窗櫃
2013 - Work in progress 方式旅行展示,可將訊息帶給多元化的觀眾。目前因這些車輛的其中之
Variables measures 一輛不斷地遊歷(海關邊界、城市、車廠、高速公路、道路等)使環境
Intervention project of van containers on trucks that cross Central America and 氣氛變得豐富及多樣化,我力圖將一個集體思想變為一首詩做為一般事
Mexico to the border with the U.S., with specific texts. 物的反思,而不讓它藏在內心。如此,讓我更能提議出一個或更多的出
發點。
IGUAL QUE EL SOL AUNQUE LA MUERTE
“Just like the sun, even if death...”
Photo: Mauricio Esquivel.
TORQUE
In engineering, torque is the biasing which occurs when is applied on the
longitudinal axis of a mechanical prism or a constructive element, such as shafts
or, in general, elements where a dimension predominates over the other two,
扭矩
although it is possible to find in various situations.
这个词 於2013年一台油罐車上出現「詞」這個字,我幫這台停在加油站的卡車
照了一張相。這個計劃,主要是有關詞和意思的對話。不管是團體層面
或個人層面都是一種詞和解讀的社會結構表現。之後,詞就如同可能的
思想及想法的受體。想法就如激發主會的傳達工具。
Stills of the video.
HABEAS 人身保护令
CORPUS
2012
Variables measures
Video projection on the floor, 5:00m HD loop.
Open grave and bones on fire.
於著火的骨頭影像上有暗喻的重要性諾言。是肉體承諾獻出它的慾望
的呈現方式,以促進記憶與希望的對話。
[ CLICK TO WATCH ONLINE ]
2013
PERPETUAL
Variables measures
Intervention site specific of the Gothic Church ‘El Calvario’
with incense smoke. Video.
Replace the historical sign that relates architecture with the sign of the collective.
In this case, the spiritual invasion of the sanctuary. Just as issues ritualism, the
spectacle, fragility, freedom of ideas, relations between death and life, spirituality,
institutional and handling, power, identity, knowledge, transculturalisation,
RICTUS
manipulation and finally touching relations of life, liberty, devotion and faith.
用集體象徽來代替與建築有關聯的歷史標誌,這個情況是聖殿的精神入
永久仪式
侵,就如同與儀式相關的題目:壯觀、脆弱、思想的自由、生死間的關
聯、心靈、機構體制與操縱、權力、身份、知識、文化滲透,最後觸碰
到生命、自由、虔誠及信心的關係。
Variables measures.
Two human skulls cut and reassembled.
對稱性是一個出發點。遵守(死亡,遺傳病史,老化,人類本身作為一
個象徽,老弱)這些原素的症狀學負擔,並試圖簡單地與雕塑,幾何圖
像,並且完全密封的奧妙受體於基本形態中面對自己(星球、球、月亮)。
View of ‘Oratory’ at ‘Manifiesto’ (Manifest). Solo exhibition at the Ex Teresa Art Museum, 2014. Mexico City, Mëxico. Photo: The Fire Theory.
Below: View of ‘Oratory’ at ‘Manifiesto’ (Manifest). Solo exhibition at the Ex Teresa Art Museum, 2014. Mexico City, Mëxico. Photo: Marion Redding
Variable Measures.
Freezer container with prayer stool.
Is a work that talks about semantical scheemes about the sensitive and poetic.
The prayer as an overload, as a ghost that inhabit us. And the relation with
temperature with the action of pray as a complex ritual that links the psicological
with the corporeal.
一個談論到感覺上及詩歌的語義圖型建議,祈禱猶如一種解脫,如同一
個住在我們身上的魂魄,溫度與祈禱文的執行關係如結合心理和身體的
繁雜儀式。
1
selfcrucifixion
2012
Variables measures
Silver pendant of Christ crucifying himself.
3
ANTHOLOGY 4
AND REVOLUTION
[2]
2009
Variables measures
Transparent pen with the artist’s blood; white blanket wrinkled.
The sculpture, painting, writing, and any form of art, manifest in the simplest things in the
simplest ways. The revolution that encompasses all dimensions from the entelechy most
basic visual stimuli, manifested in the materiality of the simplest objects, but which, in turn,
contraing all the internal meanings that make our lives fully.
La escultura, la pintura, la escritura, y cualquier forma del art, se manifiestan en las cosas
más simples, en las maneras más sencillas. La revolución abarca todo lo que la entelequia
dimensiona desde los estímulos visuales más básicos, manifestados en la materialidad de
los objetos más simples, pero que a su vez, contienen todas las relaciones internas que
ALIENTO
constituyen integralmente nuestra vida. -
[3]
2014
Stone, syringe, human blood.
I present a relation of the inert and the living. The life coming from and going to.
PARABOLA
[5]
2010
1mx0.68m
Photography. A bible inside an ice bucket.
The conception of sensivity as something that transcends the simlpe perception of the Thanks Douglas Astorga, Ithamar Canizales.
organic and the no organic.
“I think the ephemeral does not have to be a limit to establish a semantic statement. It deter-
Presento una relacion entre lo inerte y lo vivo. La vida vinieno y llegando hacia. mines an action or statement as a metaphor but his aesthetic approach can be trancended
La concepcion de la sensibilidad como algo que traciende la percepcion de lo organico y by the action itself.”
CONSUMABLE #5
lo no organico.- “Creo que lo efímero no tiene por que ser un límite para una declaración semántica. Deter-
mina una acción o declaración como una metáfora pero su aproximación estética puede ser
trascenida por la propia acción “.-
[4]
2009
Variables measures
Readymade: Glasses with sharp stainless blades welded.
© 2009-2015
Photographical sketches for ongoing projects. Above: CONSACRATION. Below: THE CONSTRUCTION OF THE GREAT WALL.
Photographical sketches for ongoing projects. Above: THE POWER OF A CITY.
<<The work of Ernesto Bautista breaths and develops between oneself and the
other, an intimate vision of who we are as individuals, as people, but at the same
time reveals what integrates us as a society. Loneliness, fear, lack, hope, death,
distance, ephemeral, all that which is beyond one. A mighty roar of who we are and
what we sometimes do not recognize (...).”>>
Edith Medina
(Taken from the curatorial text, of ‘Oración’, October 2013. Solo Exhibition).
© 2009-2015
ERNESTO BAUTISTA
Santa Ana. 1987.
Works and produces in El Salvador.
Founder member of The Fire Theory.
Fellowship for Emerging Artists at the Santa Fe Art Institute by the Har-
po Foundation, Baja California, EU. Residency of the Americas, by the
Darling Foundry Centre, Quebeck Canada. Residency through the Minis-
try of Culture of Colombia and Taller 7 at Medellin, Colombia. Recently
Solo exhibition on the ExTeresa Art Museum. Mexico, D.F. Shangyuan
Art Museum Residency Program. Beijing, China and the Emergin Artist
Felloswship at Santa Fe Art Institute by The Harpo Foundation. Parti-
cipated in “X”, Museum of Art of El Salvador and Gallery Ernst Hilger.
Vienna, Austria. Triennal of Milan. Milan, Italy. VII Biennial of Visual Arts
of the Central American Isthmus; Biennial of the Frontiers, Tamaulipas.
Mexico; Broken, Reflejos Intimos, ExTeresa Art Museum, Mexico City;
The Voice That Reaches You 2, Kansas, Missouri, EU; Memento Mori,
[e]star Gallery, Lima, Peru. Has been nominated two times for the grant
of the Cisneros Fountanals Art Foundation and the Paul Klee Summer
Akademie by the Paul Klee Foundation on Switzerland. Collections at the
Illy Art Collection, Venezia, Italy. Publications on Contemporary Langua-
ges of Central America by Luisa Fuentes Guaza. Editorial Turner. And
Y.ES. Collect Contemporary Art in El Salvador.
MORE INFORMATION ABOUT EXHIBITIONS PROJECTS, SERIES AND ARTWORK
projects@ernestobautista.net ernestobautista.net thefiretheory.org
View of ‘Oracion’ (Prayer). Solo exhibition at the Cultural Center of Spain, 2013. San Salvador, El Salvador.