{"id":43183,"guid":{"rendered":"https:\/\/graf.cat\/?post_type=event&p=43183"},"modified":"2024-11-08T10:47:17","modified_gmt":"2024-11-08T08:47:17","slug":"remy-et-dumoncel-antonio-ortega","status":"publish","type":"event","link":"https:\/\/graf.cat\/en\/events\/event\/remy-et-dumoncel-antonio-ortega\/","title":{"rendered":"R\u00e9my et Dumoncel. Antonio Ortega"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":103,"featured_media":43184,"template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"event-venues":[505],"event-tags":[],"class_list":["post-43183","event","type-event","status-publish","has-post-thumbnail","hentry","event-venue-galeria-alegria","event-category-exposicio"],"acf":{"title_ca":"R\u00e9my et Dumoncel. Antonio Ortega","title_es":"R\u00e9my et Dumoncel. Antonio Ortega","title_en":"R\u00e9my et Dumoncel. Antonio Ortega","desc_ca":"Antonio Ortega pinta obsessivament el mateix quadre, es tracta de teles de petit format en qu\u00e8 apareixen dues pedres de color rosa en una mena de paisatge incert. Antonio Ortega indica que la seva intenci\u00f3 \u00e9s suspendre l'opini\u00f3 i el pensament.\r\n\r\nOrtega s'entesta a deixar clar que l'aparent paradoxa de pretendre plasmar el silenci mitjan\u00e7ant una pintura paisatg\u00edstica tradicional (tot i que amb moltes traces d'impericia) no \u00e9s un exercici de representaci\u00f3 naturalista. Per aix\u00f2, no ser\u00e0 gratu\u00eft que les pedres estiguin pintades a partir d'una base magenta -color que no existeix de forma natural ja que es va desenvolupar qu\u00edmicament a finals del segle XIX- ni la insist\u00e8ncia en horitzons plans, que podrien remetre'ns, indistintament, a un paisatge o a un bodeg\u00f3, a un camp o a una taula. El resultat s\u00f3n quadres esquerps que es resisteixen a la companyia. L'artista diu que els seus quadres s\u00f3n com els teixos que deixen anar les fulles t\u00f2xiques per impedir que ning\u00fa s'hi acosti. S'ha dit que l'obra d'Antonio Ortega invoca la *Conference on Nothing* [Confer\u00e8ncia sobre el no-res] de John Cage, segons la qual el nihilisme esdev\u00e9 positiu i a les seves teles res no parla, ni figura ni color: res.\r\n\r\nNo hi estem d'acord, ja que, en l'\u00e0mbit de la pintura, podr\u00edem dir que la responsabilitat de representar el no-res li ha estat reservada al monocrom blanc, i hem de convenir que els quadres monocrom\u00e0tics, des de la seva condici\u00f3 metaart\u00edstica, s'han inclinat cap a posicionaments i afirmacions categ\u00f2riques mentre que Antonio, als seus llen\u00e7os, q\u00fcestiona la idea de representaci\u00f3 de manera personal, mostrant-la com la impossibilitat d\u2019explicar-se millor. Per aix\u00f2, no \u00e9s una pintura callada \u2013el no-res\u2013; \u00e9s una pintura af\u00f2nica. Estar af\u00f2nic implica emetre, amb gran esfor\u00e7, un so t\u00e8nue que, a m\u00e9s, t\u00e9 codificats tots els matisos de la parla normal. De la mateixa manera, els quadres d'Antonio Ortega no s\u00f3n la representaci\u00f3 del no-res, sin\u00f3 el resultat de no poder explicar-ho tot.\r\n\r\nAntonio Ortega ens remet al seu darrer llibre publicat *La lecci\u00f3n de Johanna van Gogh*, amb la intenci\u00f3 de reformular la idea d'interpretaci\u00f3. Persuadit que la pintura continua sent diposit\u00e0ria de la capacitat de commoure, considera que la interpretaci\u00f3 i, per extensi\u00f3, el relat que suporta una obra, excedeix la relaci\u00f3 que s'estableix entre artista, obra i p\u00fablic, per prendre forma a partir d\u2019una construcci\u00f3 coral, parcial i fragmentada en qu\u00e8 l'emoci\u00f3 condueix a fer que aquest relat sigui c\u00f2mplice, radical o sensual. Aix\u00ed doncs, \u00e9s en aquest marc en qu\u00e8 hem d'entendre l'obsessi\u00f3 tem\u00e0tica d'Antonio Ortega, que ell mateix descriu com a \u201cintent fallit de glossar el concepte de demag\u00f2gia\u201d i on la demag\u00f2gia \u00e9s entesa en tant que una figura ret\u00f2rica.","desc_es":"Antonio Ortega pinta obsesivamente el mismo cuadro, se trata de lienzos de peque\u00f1o formato en los que aparecen dos piedras rosas en una especie de paisaje incierto. Antonio Ortega indica que su intenci\u00f3n es suspender la opini\u00f3n y el pensamiento.\r\n\r\nOrtega se empe\u00f1a en dejar claro que, la aparente paradoja de pretender plasmar el silencio mediante pintura paisaj\u00edstica tradicional (aunque con muchas trazas de impericia), no es un ejercicio de representaci\u00f3n naturalista. Por eso, no ser\u00e1 gratuito que las piedras est\u00e9n pintadas a partir de una base magenta -color que no existe de forma natural ya que se desarroll\u00f3 qu\u00edmicamente a finales del siglo XIX- ni la insistencia en horizontes planos, que podr\u00edan remitirnos, indistintamente, a un paisaje o a un bodeg\u00f3n, a un campo o a una mesa. El resultado son cuadros hura\u00f1os que se resisten a la compa\u00f1\u00eda. El artista dice que sus cuadros son como los tejos que sueltan sus hojas t\u00f3xicas para impedir que nadie se acerque a ellos.\r\n\r\nSe ha dicho que la obra de Antonio Ortega invoca la Lecture on Nothing [Conferencia sobre la nada] de John Cage, seg\u00fan lo cual, el nihilismo se vuelve positivo y en sus telas nada habla, ni figura ni color: nada. No estamos de acuerdo, ya que, en el \u00e1mbito de la pintura, podr\u00edamos decir que la responsabilidad de representar la nada le ha correspondido al monocromo blanco y, tenemos que convenir que los cuadros monocrom\u00e0ticos, desde su condici\u00f3n metaart\u00edstica, se han inclinado hacia posicionamientos y afirmaciones categ\u00f3ricas mientras que Antonio, en sus lienzos, cuestiona la idea de representaci\u00f3n de manera personal, mostr\u00e1ndola como la imposibilidad de explicarse mejor. Por ello, no es una pintura callada \u2013la nada\u2013; es una pintura af\u00f3nica. Estar af\u00f3nico implica emitir, con gran esfuerzo, un sonido tenue que, adem\u00e1s, tiene codificados todos los matices del habla normal. De igual modo, los cuadros de\r\n\r\nAntonio Ortega no son la representaci\u00f3n de la nada, sino el resultado de no poder explicarlo todo. Antonio Ortega nos remite a su \u00faltimo libro publicado La lecci\u00f3n de Johanna van Gogh, con la intenci\u00f3n de reformular la idea de interpretaci\u00f3n. Persuadido de que la pintura sigue siendo depositaria de la capacidad de conmover, considera que la interpretaci\u00f3n y, por extensi\u00f3n, el relato que soporta una obra, excede a la relaci\u00f3n que se establece entre artista, obra y p\u00fablico, para sustanciarse a partir de una construcci\u00f3n coral, parcial y fragmentada en la que la emoci\u00f3n conduce a que dicho relato sea c\u00f3mplice, radical o sensual. As\u00ed pues, es en ese marco en el que debemos entender la obsesi\u00f3n tem\u00e1tica de Antonio Ortega, que \u00e9l mismo describe como \u201cintento fallido de glosar el concepto de demagogia\u201d y en el que la demagogia se entiende como una figura ret\u00f3rica.","desc_en":"Antonio Ortega obsessively paints the same picture, invariably executed on small-format canvases and featuring two pink stones that appear in a somewhat indistinct landscape. Antonio\r\n\r\nOrtega points out that his intention is to suspend opinion and thought. Ortega is keen to make it clear that the apparent paradox of trying to capture silence through traditional landscape painting (with numerous traces of clumsiness) is not an exercise in naturalistic representation. Therefore, it is not by chance that the stones are painted with a magenta base\u2014a colour that does not exist naturally since it was developed chemically at the end of the 19th century\u2014nor the insistence on flat horizons that could refer us, indistinctly, to a landscape or a still life, a field or a table. The result are sullen paintings that resist company. The artist says his paintings are like yew trees that shed their toxic leaves to prevent anyone from approaching them. It has been said that Antonio Ortega's oeuvre invokes John Cage's *Lecture on Nothing*, according to which nihilism becomes positive and, additionally, nothing speaks within his canvases, neither figure nor color: nothing. We differ, since in the field of painting we could say that the responsibility of representing nothingness has fallen to the white monochrome, and we have to agree that monochromatic paintings, from their meta-artistic condition, have leaned more towards categorical positions and affirmations while, in his paintings, Antonio questions the idea of representation from a personal point of view, revealing the impossibility of explaining himself better. Thus, his work is not a silent painting; it is an aphonic painting. Being aphonic implies emitting, with great effort, a faint sound that, moreover, contains all the nuances of normal speech encoded. In the same way, Antonio Ortega\u2019s paintings are not the representation of nothing, but the result of not being able to explain everything.\r\n\r\nWith the aim of reformulating the idea of interpretation, Antonio Ortega refers us to his latest published book, *La lecci\u00f3n de Johanna van Gogh* [*The Lesson of Johanna van Gogh*]. Convinced that painting has the capacity to touch emotionally, he considers that interpretation and, by extension, the narrative supporting an artwork, surpasses the relationship built between the artist, the artwork and the public, and is substantiated by a choral, partial and fragmented structure in which the emotions the artwork can generate encourage an accomplice, radical or sensual story. It is within this framework, therefore, that we must understand Antonio Ortega's obsession with a subject matter he describes as \u201ca failed attempt to summarize the concept of demagogy\u201d, in which demagogy appears as a rhetorical figure.","event_category":103,"event_show_only_own_date":true,"_event_free":true,"_event_price-min":"","_event_price-max":"","_event_web_ca":"https:\/\/www.galeriaalegria.es\/","_event_web_es":"https:\/\/www.galeriaalegria.es\/","_event_web_en":"https:\/\/www.galeriaalegria.es\/","event_contact_email":"","event_apply_email":"","is_online_event":false,"is_art_nou_event":false,"is_bgw_event":false,"date_text":"","register_deadline":null,"altres_organitzadors":""},"abe_event_venue":"Galer\u00eda Alegr\u00eda","abe_event_category":"Exposici\u00f3","start":"2024-11-13 00:00:00","end":"2025-01-15 23:59:00","schedule":"once","schedule_meta":"","frequency":1,"all_day":1,"until":"2024-11-13 00:00:00","include":[],"exclude":[],"_links":{"self":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/43183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events"}],"about":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/types\/event"}],"author":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/users\/103"}],"occurrences":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/43183\/occurrences"}],"acf:term":[{"embeddable":true,"taxonomy":"event-category","href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-category\/103"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media\/43184"}],"wp:attachment":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media?parent=43183"}],"wp:term":[{"taxonomy":"event-venue","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-venues?post=43183"},{"taxonomy":"event-tag","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-tags?post=43183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}