{"id":7895,"date":"2021-12-15T23:06:36","date_gmt":"2021-12-15T23:06:36","guid":{"rendered":"https:\/\/aliciachillida.es\/?page_id=7895"},"modified":"2023-10-05T08:31:07","modified_gmt":"2023-10-05T08:31:07","slug":"rogelio-lopez-cuenca","status":"publish","type":"page","link":"https:\/\/aliciachillida.es\/en\/exhibitions\/rogelio-lopez-cuenca\/","title":{"rendered":"XXV S\u00e3o Paulo Biennial  <\/br> Rogelio L\u00f3pez Cuenca <\/br><i>Astilh\u00e3ografo<\/i>"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"7895\" class=\"elementor elementor-7895\" data-elementor-post-type=\"page\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-49db6d4 elementor-section-stretched elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"49db6d4\" data-element_type=\"section\" data-settings=\"{&quot;stretch_section&quot;:&quot;section-stretched&quot;}\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-af2c86e\" data-id=\"af2c86e\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c082ae8 elementor-widget elementor-widget-text-editor\" data-id=\"c082ae8\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.16.0 - 13-09-2023 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h3><span class=\"TextRun SCXW252506222 BCX0\" lang=\"ES-ES\" xml:lang=\"ES-ES\" data-contrast=\"none\"><span class=\"NormalTextRun SCXW252506222 BCX0\">XXV Biennial of S<\/span><\/span><span class=\"TextRun SCXW252506222 BCX0\" lang=\"ES-ES\" xml:lang=\"ES-ES\" data-contrast=\"none\"><span class=\"SpellingError SCXW252506222 BCX0\">\u00e3<\/span><\/span><span class=\"TextRun SCXW252506222 BCX0\" lang=\"ES-ES\" xml:lang=\"ES-ES\" data-contrast=\"none\"><span class=\"NormalTextRun SCXW252506222 BCX0\">o Paulo.<\/span><\/span><\/h3><h3><span class=\"TextRun SCXW252506222 BCX0\" lang=\"ES-ES\" xml:lang=\"ES-ES\" data-contrast=\"none\"><span class=\"NormalTextRun SCXW252506222 BCX0\">Rogelio L\u00f3pez Cuenca<\/span><\/span><span class=\"TextRun SCXW252506222 BCX0\" lang=\"ES-ES\" xml:lang=\"ES-ES\" data-contrast=\"none\"><span class=\"NormalTextRun SCXW252506222 BCX0\">:\u00a0<\/span><\/span><em><span class=\"TextRun SCXW252506222 BCX0\" lang=\"ES-ES\" xml:lang=\"ES-ES\" data-contrast=\"none\"><span class=\"SpellingError SCXW252506222 BCX0\">Astilh\u00e3ografo<\/span><\/span><\/em><\/h3>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-77929b1 elementor-icon-list--layout-traditional elementor-list-item-link-full_width elementor-widget elementor-widget-icon-list\" data-id=\"77929b1\" data-element_type=\"widget\" data-widget_type=\"icon-list.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<link rel=\"stylesheet\" href=\"https:\/\/aliciachillida.es\/wp-content\/plugins\/elementor\/assets\/css\/widget-icon-list.min.css\">\t\t<ul class=\"elementor-icon-list-items\">\n\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Curator: Alicia Chillida<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Coordination: Esther Su\u00e1rez <\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Installation: Marcos Corrales, architect<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Place: Spain Pavilion, S\u00e3o Paulo, 2002<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Promotion: Ministry of Foreign Affairs \/ SEACEX<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Sponsor: Official Credit Institute Foundation (ICO) <\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/aliciachillida.es\/en\/publications\/rogelio-lopez-cuenca-spanish-pavilion-at-xxv-biennial-of-sao-paulo-brazil-2002\/\" target=\"_blank\">\n\n\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">See publication<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-79bfbfa elementor-widget elementor-widget-image\" data-id=\"79bfbfa\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div 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src=\"https:\/\/aliciachillida.es\/wp-content\/uploads\/TEXT0CF11.jpg\" class=\"attachment-full size-full wp-image-13163\" alt=\"\" srcset=\"https:\/\/aliciachillida.es\/wp-content\/uploads\/TEXT0CF11.jpg 1200w, https:\/\/aliciachillida.es\/wp-content\/uploads\/TEXT0CF11-500x378.jpg 500w, https:\/\/aliciachillida.es\/wp-content\/uploads\/TEXT0CF11-1024x775.jpg 1024w, https:\/\/aliciachillida.es\/wp-content\/uploads\/TEXT0CF11-768x581.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-012535b elementor-widget elementor-widget-image\" data-id=\"012535b\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1649\" src=\"https:\/\/aliciachillida.es\/wp-content\/uploads\/SPvinst4-scaled.jpg\" class=\"attachment-full size-full wp-image-11065\" alt=\"\" srcset=\"https:\/\/aliciachillida.es\/wp-content\/uploads\/SPvinst4-scaled.jpg 2560w, https:\/\/aliciachillida.es\/wp-content\/uploads\/SPvinst4-500x322.jpg 500w, https:\/\/aliciachillida.es\/wp-content\/uploads\/SPvinst4-1024x660.jpg 1024w, https:\/\/aliciachillida.es\/wp-content\/uploads\/SPvinst4-768x495.jpg 768w, https:\/\/aliciachillida.es\/wp-content\/uploads\/SPvinst4-1536x990.jpg 1536w, https:\/\/aliciachillida.es\/wp-content\/uploads\/SPvinst4-2048x1320.jpg 2048w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-60ebfa8 elementor-hidden-tablet elementor-hidden-phone\" data-id=\"60ebfa8\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-2dae8d9\" data-id=\"2dae8d9\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6bc69ca elementor-widget elementor-widget-spacer\" data-id=\"6bc69ca\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.16.0 - 13-09-2023 *\/\n.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}.e-con{--container-widget-width:100%}.e-con-inner>.elementor-widget-spacer,.e-con>.elementor-widget-spacer{width:var(--container-widget-width,var(--spacer-size));--align-self:var(--container-widget-align-self,initial);--flex-shrink:0}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container,.e-con>.elementor-widget-spacer>.elementor-widget-container{height:100%;width:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer{height:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner{height:var(--container-widget-height,var(--spacer-size))}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty,.e-con>.elementor-widget-spacer.elementor-widget-empty{position:relative;min-height:22px;min-width:22px}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon,.e-con>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon{position:absolute;top:0;bottom:0;left:0;right:0;margin:auto;padding:0;width:22px;height:22px}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-51fcbcf elementor-widget elementor-widget-text-editor\" data-id=\"51fcbcf\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><em>Cities to come text collage<\/em>. Alicia Chillida, Rogelio Lopez Cuenca<\/p>\n<p class=\" translation-block\"><em>Astilh\u00e3ografo<\/em> \/<em>Chapping<\/em> (2001-2002), is the metaphor with which Rogelio L\u00f3pez Cuenca responds to the invitation <em>Metropolitan Iconographies<\/em> of the XXV Bienal de S\u00e3o Paulo; it is an imaginary artifact, a \"machine c\u00e9libataire\" whose job is to write about the wounds of the city. In this splintered writing, the city appears as a sum of failed allusions, accidents, chaos and chance. The installation functions as a synthesis and sum of preceding works, and just as in the case of <em>No(w)here<\/em>. The work of L\u00f3pez Cuenca, which is his closest antecedent, hosts borrowings, transfers and migrations from within the artistic language itself, which merges, in this case, with a whole set of new meanings and images that bring the poetic and political reality of Brazil. L\u00f3pez Cuenca's work thus shows its power and vitality of theoretical and methodological renewal, by establishing an open, nomadic system, a continuous whole susceptible of endless growth.<\/p>\n<p><\/p>\n<p><span style=\"color: #000080;\">Astilh\u00e3ografo<\/span><\/p>\n<p><span style=\"color: #000080;\"><em>proposes an unforeseen route<br>a journey<br>a series of passing traces<br>transitory passages<\/em><\/span><\/p>\n<p><em><span style=\"color: #000080;\">from the situationist drifts to the traces of<\/span><\/em><br><em><span style=\"color: #000080;\">the random Duchampian proposals (Network Stoppages)<\/span><\/em><br><em><span style=\"color: #000080;\">to the traces of industrialization.<\/span><\/em><br><em><span style=\"color: #000080;\">The train narrates the economic history of the country:<\/span><\/em><br><em><span style=\"color: #000080;\">over the paths of the slaves the railroad line is laid<\/span><\/em><br><em><span style=\"color: #000080;\">for the transportation of minerals, sugar and coffee.<\/span><\/em><\/p>\n<p><span style=\"color: #000080;\"><em>As, later on, the<\/em> <strong>subway lines<\/strong>.<\/span><br><span style=\"color: #000080;\"><em>The same as the<\/em> <strong>Equator line<\/strong><\/span><br><em><span style=\"color: #000080;\">(which as <strong>guita<\/strong> is also thread, rope and money)<\/span><\/em><br><em><span style=\"color: #000080;\">separates South from North, poor from rich.<\/span><\/em><br><em><span style=\"color: #000080;\">Machine<\/span><\/em><br><span style=\"color: #000080;\"><em>from<\/em> <strong>line reta<\/strong>,<\/span><br><span style=\"color: #000080;\"><strong>retil\u00ednea<\/strong> <em>(sewing machines:<\/em><\/span><br><em><span style=\"color: #000080;\">one of the main silos of black labor).<\/span><\/em><\/p>\n<p><span style=\"color: #000080;\">Astilh\u00e3ografo en <strong>a poem<\/strong><\/span><br><span style=\"color: #000080;\">as Octavio Paz wanted,<\/span><br><span style=\"color: #000080;\">for the <strong>public disorientation<\/strong><\/span><br><em><span style=\"color: #000080;\">... The unpredictability of the journey, the confusion and the dispersion of the roads,<\/span><\/em><br><em><span style=\"color: #000080;\">the randomness of the stops, the uncertainty of the nights, the asymmetry of the<\/span><\/em><br><em><span style=\"color: #000080;\">all routes.<\/span><\/em><br><em><span style=\"color: #000080;\">... a parade of battlefields, past, present or future.<\/span><\/em><br><em><span style=\"color: #000080;\">... a <strong>Noteentiendo<\/strong>,<\/span><\/em><br><span style=\"color: #000080;\">... but this afternoon ... you may know who I am.<\/span><\/p>\n<p><span style=\"color: #000080;\">... travelers find in the unknown the same tedium they have left at home<\/span><br><em><span style=\"color: #000080;\">(Claudio Magris)<\/span><\/em><\/p>\n<p><em><span style=\"color: #000080;\">You will find no new places, no other seas,<\/span><\/em><br><em><span style=\"color: #000080;\">The town will follow you.<\/span><\/em><br><em><span style=\"color: #000080;\">(Cavafis)<\/span><\/em><\/p>\n<p>The viewer walks through a free-standing architecture that is located in an area of maximum flow and constant traffic, inside the Pavilion of the architect Oscar Niemeyer in Ibirapuera Park. Two differentiated fields trace, through two pre-existing visual and narrative elements, the dividing line between the two basic spaces of urban culture: the house and the street, the PUBLIC represented through <em>the metropolitan transport line and outer space signaling systems<\/em> and the PRIVATE represented by the <em>real estate agency advertising and word-of-mouth advertising<\/em>. The permeable character of the area translates into a montage in which the line of communication is assimilated to the idea of the thread. For the passerby, as happens in the city, advertising breaks into the landscape and configures the limits, the vision is fragmented and interrupted by virtue of the juxtaposition of public (interior) and private (exterior) images. Circulation materializes between these broken and open spaces, in this \"continuous drift\" the fact of crossing these obstacles constitutes an experience that conjugates and assimilates the opposites: inside-outside, inclusion-exclusion, house-street, roof-outside, stay-stop, stop-pass.\n<\/p><p><span style=\"color: #000080;\"><em>Astilh\u00e3ografo is a work open to borrowings, transfers and migrations of language, its sources are a dense web of quotations ranging from European and American literature, philosophy, anthropology, travelers' books, historians, journalistic texts, popular music. Marx, Pound, Rimbaud, Baudelaire, Pessoa or Maiakovski, Cendrars or Marinetti, Cavafis, H\u00f6lderlin, Mallarm\u00e9, Heidegger, Wittgenstein, Virilio, De Certau, Chatwin, Aug\u00e9, as well as songs by Chico C\u00e9sar, Caetano Veloso or Noel Rosa; and the same as phrases heard or read in the media, in the street or references to the Russian avant-garde or Duchamp, elements of colloquial language, fragments of hymns, slogans, and the ideology conveyed by sayings and set phrases.<\/em><\/span><\/p>\n<p><span style=\"color: #000080;\"><i>Astilh\u00e3ografo seeks to use some forms to speak of others: to construct a work that incorporates its own theoretical text, a poem that is at the same time an essay on writing: a collage, a weft of quotations from texts and images that illustrate each other, that disprove each other, that are activated in a new context. Visual quotations from consumerist advertising rhetoric, Situationism, public signage, press photography, the iconography of fashion and leisure magazines.<\/i><\/span><\/p>\n<p><span style=\"color: #000080;\">&nbsp;<\/span><\/p>\n<p>(Excerpt from the catalog, ed. Ministry of Foreign Affairs. General Secretariat for International Cooperation and Ibero-America. Direcci\u00f3n General de Relaciones Culturales y Cient\u00edficas, Madrid, 2002).<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>XXV S\u00e3o Paulo Biennial. Rogelio L\u00f3pez Cuenca: Astilh\u00e3ografo Curator: Alicia Chillida Coordination: Esther Su\u00e1rez Mounting: Marcos Corrales, architect Location: Spain Pavilion, S\u00e3o Paulo, 2002 Promotion: Ministry of Foreign Affairs \/ SEACEX Sponsorship: Fundaci\u00f3n Instituto Cr\u00e9dito Oficial (ICO) See publication Ciudades por-venir texto collage. Alicia Chillida, Rogelio L\u00f3pez Cuenca Astilh\u00e3ografo \/ Astill\u00e1grafo, (2001-2002), is the metaphor for [...]<\/p>","protected":false},"author":1,"featured_media":11071,"parent":2026,"menu_order":210,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/pages\/7895"}],"collection":[{"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/comments?post=7895"}],"version-history":[{"count":99,"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/pages\/7895\/revisions"}],"predecessor-version":[{"id":16701,"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/pages\/7895\/revisions\/16701"}],"up":[{"embeddable":true,"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/pages\/2026"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/media\/11071"}],"wp:attachment":[{"href":"https:\/\/aliciachillida.es\/en\/wp-json\/wp\/v2\/media?parent=7895"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}