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Enrique Martínez Celaya artists | artistas ENRIQUE MARTÍNEZ CELAYA FROM CLICHÉ TO ARCHETYPE DEL CLICHÉ AL ARQUETIPO By / por David Raskin (Chicago) nrique Martínez Celaya’s summer 2013 exhibition at SITE Santa Fe follows a 2011-12 installation of Schneebett (2004) at the Miami Art Museum, and Eprovides an opportunity to survey his career. As general practice, Martínez Celaya creates images we wish to but cannot join. A boy stands alone in a meadow. Lightning flashes against a dark and stormy sky. Icebergs float in the sea.T hese scenes should speak to some part of us, but they remain too broad. We hope for something meaningful, but encounter the usual platitudes. Dying was the theme of Martínez Celaya’s Schneebett, and everything since. That project was first shown in Berlin in 2004, and is a meditation on Beethoven’s final years.T he installation includes a cast bronze bed covered with frost, a 60 FROM CLICHÉ TO ARCHETYPE DEL CLICHÉ AL ARQUETIPO a exposición del verano de 2013 de Enrique Martínez Celaya en SITE Santa Fe sigue a la presentación de la instalación, Schneebett, (2004) en el Miami 61 LArt Museum en 2011-2012 y brinda una oportunidad de examinar la carrera de este artista. Como práctica general, Martínez Celaya crea imágenes con las que desearíamos compenetrarnos, pero no podemos. Un niño solitario se encuentra de pie en una pradera. Centellean relámpagos contra el fondo de un cielo oscuro y tormentoso. Flotan témpanos en el mar. Estas escenas deberían tocar alguna fibra en nosotros, pero son demasiado generales. Tenemos la esperanza de ver algo significativo, pero encontramos los habituales clichés. Martínez Celaya working on the sculpture The El morir fue el tema central de la obra de Martínez Celaya Schneebett y de todo lo Short Journey, for the exhibition, “The Pearl”, at SITE Santa Fe. Martínez Celaya trabajando en la que le siguió. Ese proyecto, una meditación sobre los últimos años de Beethoven, escultura The Short Journey, para la exposición “The Pearl”, presentada en SITE Santa Fe. artists | artistas se exhibió por primera vez en Berlín en 2004. La instalación incluye una cama de bronce fundido cubierta de escarcha, un cuadro de un bosque nevado realizado con pintura, brea y plumas, una pila de ramas, un poema titulado “Poisonwood” (Guao), escrito por el artista sobre una de las paredes, y una sola silla vacía: una orquesta sinfónica ejecuta los últimos conciertos del protagonista. Más que amalgamar el arte, la poesía y la música, los formatos redundantes revelan la inadecuación de cada uno de ellos con respecto a su tema. ¿Cómo podría ser de otra manera? Nadie puede imaginar el fin de The Dock, 2013. sus días. “La futilidad de Schneebett me dio Oil and wax on canvas, 116 x 150 in una lección de humildad”, observó Martínez Óleo y cera sobre tela, 294.6 x 381 cm Celaya en 2006. Tal vez la insatisfacción con el status quo sea algo innato en el artista. Es excepcionalmente articulado y otros escritores han prestado especial atención a su biografía, especialmente a sus estudios de grado en física, sus lecturas de filosofía picture of a snowy forest made from paint, existencial y literatura, y el traslado de su tar and feathers, a pile of branches, a poem familia de Cuba a Estados Unidos vía España by the artist written on a wall, entitled, y Puerto Rico. También se suele hacer “Poisonwood,” and a single empty chair; a referencia a los artistas cuyos ejemplos han symphony orchestra plays the protagonist’s sido muy valiosos, según lo expresado por él. later concertos. Rather than fusing art, Entre estos se contaba, en una etapa inicial, poetry, and music, the redundant formats Joseph Beuys, el veterano de la Luftwaffe reveal the inadequacy of each to its subject. que transformó un vocabulario nacional en How could it be otherwise? No one can una herramienta para el arrepentimiento imagine the end of days. “I was humbled by personal y político. Más tarde llegaría Leon the futility of Schneebett,” Martínez Celaya Golub, un nativo de Chicago que captó remarked in 2006. la grave situación de la gente en general Perhaps dissatisfaction with the status pintando la opresión de una pocas personas. quo comes naturally to the artist. He is “Para ser un profeta”, Martínez Celaya exceptionally articulate, and other writers escribió en 2009, “un artista no necesita a have paid attention to his biography, Dios sino que precisa claridad de propósito, especially his graduate studies in physics, carácter y atención”. readings in existential philosophy and El mejor estudio moderno del quietismo literature, and family’s relocation from que distingo en el arte de Martínez Celaya Cuba to the United States via Spain and es From Cliché to Archetype (Del cliché al Puerto Rico. Also referenced are the artists arquetipo), un libro popular escrito en 1970 whose examples he has said were most por el pionero canadiense de las ciencias valuable. Among others, earlier, there was de la información Marshall McLuhan y el Joseph Beuys, the Luftwaffe veteran who poeta Wilfred Watson, que tuvo una activa transformed a national vocabulary into a tool participación en la comunidad del teatro for personal and political repentance. Later experimental en Canadá. Como ellos lo also came Leon Golub, a Chicagoan who explicaran, el cliché es un filtro que da forma captured the plight of all people by painting a nuestras percepciones, pero una vez que the oppression of a few. “To be a prophet,” es reconocido se convierte en una sonda Martínez Celaya wrote in 2009, “an artist para diseccionar los supuestos habituales. doesn’t need God but clarity of purpose, “Shakespeare destroza todos los viejos character, and attention.” clichés del amor hasta su época”, observaron, The best modern study of the quietism I “y concluye con una maldición sobre el see in Martéinez Celaya’s art is From Cliché amor”. Toda destrucción debe ser abrazada, to Archetype, a popular book written in puesto que libera nuestra conciencia de la 1970 by the Canadian pioneer of media mentalidad predominante. studies, Marshall McLuhan, and the poet Una vez que un cliché ha captado la atención, Wilfred Watson, who was active in Canada’s en lugar de deslizarse inadvertido se Works in progress for the SITE Santa Fe experimental theater community. As they convierte en “un catalizador para enfrentar el exhibition, “The Pearl”, Studio Enrique explained, the cliché is a filter that shapes exilio y la extranjeridad”, frase que Martínez Martínez Celaya, Miami, Florida, 2013. our perceptions, but once acknowledged Celaya utilizó para caracterizar a Schneebett. Obras en curso para la exposición “The becomes a probe to dissect commonplace Pearl”, presentada en SITE Santa Fe, Esta es una obra de arte perturbadora Estudio Enrique Martínez Celaya, Miami, assumptions. “Shakespeare smashes all precisamente porque sondea cada uno de Florida, 2013 the old clichés of love up to his time,” they nuestros intentos imaginativos y nos permite observed, “and concludes with a curse on reconocer que el resultado es un vacío. love.” Every destruction is to be embraced, Aunque Schneebett cerraba la trilogía de since it frees our awareness from prevailing Martínez Celaya sobre Beethoven, la ética mindsets. de choque y temor del proyecto persiste. Once a cliché draws attention instead of “Schneebett es”, señaló el artista, “el slipping past without notice, it becomes “a umbral”. Una lección importante fue que catalyst to confront exile and foreignness,” sus creaciones interactuaron de modos which is a phrase Martínez Celaya used in inesperados. La cama congelada, inaccesible, characterizing Schneebett. This is a haunting proponía una ecología imaginada que era work of art precisely because it probes our lógica y materialmente incompatible con los every attempted imagining, and lets us puntos de vista sugeridos por la pintura que recognize that we come up empty. incluía la brea y las plumas. La indiferencia no Though Schneebett concluded Martínez dejaba lugar para el confort. Celaya’s Beethoven trilogy, the shock-and- Entre otras obras, una serie de cuatro pinturas awe ethics of the project remain. “Schneebett de quince pies de altura por once pies de is,” he noted, “the threshold.” One important ancho diseñadas en 2010 para la Catedral de lesson was that his creations interacted in San Juan el Divino, en la ciudad de Nueva 63 unexpected ways. The inaccessible frozen York, continuaban creando humildad a escala 63 artists | artistas bed proposed an imagined ecology that ambiental. Bajo el título de The Crossing e Sketches and studies for the SITE was logically and materially incompatible instaladas de a pares en el ambulatorio a Santa Fe exhibition, “The Pearl”, Studio Enrique Martínez Celaya, with the points of view suggested by the tar lo largo de la nave, las silenciosas figuras Miami, Florida, 2013. Bocetos y and feather painting. The indifference left no de Martínez Celaya (un muchachito abraza estudios para la exposición room for comfort. a un caballo, otro camina con muletas), el “The Pearl”, presentada en SITE Among other works, a series of four fifteen bote de remos vacío y el sendero que cruza Santa Fe, Estudio Enrique Martínez feet high by eleven feet wide paintings un bosque invernal desafían a los elevados Celaya, Miami, Florida, 2013 designed in 2010 for the Cathedral Church of vitrales y a la sólida arquitectura en piedra. St. John the Divine in New York City continued Delicadas y con perspectivas exigentes, to create humility on an environmental scale. las imágenes pintadas no tienen la pulida Entitled The Crossing and installed in pairs in terminación del vidrio gótico. Se observan the ambulatory alongside the nave, Martínez chorreaduras de pintura y manchas de barro. Celaya’s silent figures (one boy embraces a Las imágenes no llegan a cubrir los costados horse, another walks on crutches), empty de la tela, dejando los bordes del lienzo crudo rowboat, and path through a wintery wood expuestos.
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  • Print Prince of Darkness
    section M pages 3,5 | SUNDAY, MARCH 7, 2004 ARTS THE PRINCE OF DARKNESS Enrique Martínez Celaya illuminates absence and loss in his moody, murky paintings BOB EIGHMIE/HERALD STAFF BLACK HOLES: Above, the artist paints a mural mixed with his blood at the Museum of Art. Enrique Martínez Celaya favors stark and simple statements that evoke loss, like the empty boat in The Helper (Abruptness), top left, or the faint white outlines of father and son in Distance, top right. ART REVIEW BY ELISA TURNER [email protected] His paintings come from places where most of the lights have flickered and died. Looking at them, you feel as if you've stum- bled in from a leafy outdoors noisy with sunlight bouncing off cars and kids, having just pushed the door open onto a house boarded up for years. Other paintings can make you feel as if you've left a familiar kitchen, bright and busy with pots simmering and knives chopping, and then stepped into a living room just as the power fails, when arm chairs and family photos vanish into a chilly black hole. The heavy darkness in the paintings of Enrique Martínez Celaya can make you blink and squint. You want to peer into their light-devouring voids, trying to make out the telltale surroundings for his chalky white outlines of men, women, and children, trying to figure out where these hollowed-out families, MISERY IN MADRID who are really more phantom than flesh, belong. The tantalizing pleasures and secrets gingerly offered by this The absence of another subject dramatically shadowed his talk.
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  • Jack Shainman Gallery
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  • Print Layout 1
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  • Object Oriented Ontology, Art and Art-Writing
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