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Crhomo Sapiens - the demise of pop

sapiens sapiens

Pablo Echaurren - Crhomo

Chromo, the exhibition Pablo Echaurren Rome Museum Foundation, is a container of different themes and artistic languages, almost an overview of what the artist has produced during his career. However, in my opinion, the total exposure system has a specific meaning and importance, perhaps higher than the intentions of the author: a meditation on the essence of Time, which carries out, not without upheaval, his final illusion.

The first room dedicated to Rome, is the keystone of the exhibition: paintings in the artist strove to celebrate the historic splendor, political and metropolitan of the capital, but the icons that are almost caricatures he drew up, ridiculously, as well as excessive leakage and schizzature of color, who tend to devalue the pictorial suggestions, do not galvanize them. Pablo Echaurren I think this was in no way ignorant, so that at the center of the room a umbilicum urbis which is a black and white mosaic depicting skulls, an echo of vanitas, as if to put the lie to the great and powerful form of theater. Death defeats the time, with every project and every illusion, annihilating even the will of the undying myth that the sculpture of the Capitoline she-wolf, under which there are two skulls instead of the ancestral progenitors.

Rome triumphantly decadent, however, is also a metaphor for the decline of proud of modernity. But there is a turn-esoteric: there is simply the manifestation of a dissolution but the call to solve apocalyptic. I noticed that the entire show (and especially the recent works) enacted the raging fury of the legendary Feathered Serpent of the Maya, who had prophesied, just at the present time, the end of the cosmic cycle. There is in the paintings, and even more in the "glottesche" ceramics of Faenza, a swarm of interlocking guzzlers of twists Uroboros who reject the essential energy to the matrix of copulations frantic hopeless generation. Pablo Echaurren seems viscerally feel the present drama of an endless promise of resurrection, because everything that we have been and all that we have proudly built not now contain any possible reality, no prerequisite for development.

Paradoxically, the artist communicates this with the apparent contradiction of the language of pop, in fact, precisely because the pop all'episodicità time is closely related to globalization and mass media, is by its nature, unsuited to the investigation into the mystery Soul. And it is increasingly clear that, to the point where we are, only returning to the authenticity spiritual Being able to share the creation of a new original and regeneration, in other words we have to undress Apparel illusion of time and eternity to recognize our essential , and hence be free to sense and flow. Not by chance that the true genius of the show (as the title says) is the color, primal power of the soul that the artist, beyond tired of the vulgarity, gender, declines with intuitive wisdom.

As we said, we can see in this exhibition the final sunset of pop, transcended virtually the same artist with his work and ceramic sculpture, which shows no unexpected irony classical references. However, the most fascinating of the exhibition is just the multiplication of contradictions, reflections inconsistent and theatricality powerless, because Echaurren shakes us but we are seduced into believing in the truth of his unique spell, so then we must ask ourselves with ruthlessness, and establish ourselves what is true. A small sculpture in this exhibition reminds us that this introspection: a kneeling skeleton presents a mirror and produce a glowing heart consists of a fire opal, as if to say that only a stripping of ourselves - the ego - we think in our most authentic nature and connect to the wisdom of the heart, let me add in passing that the fire opal is the stone of your wisdom and come from Mexico, the land of the Maya.