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Lagoon by Mónica        Giron

Lagoon by Mónica        Giron

Neo-Creole by Mónica        Giron

Neo-Creole by Mónica        Giron

Neo-Creole by Mónica        Giron

She-Osmosis-Me by Mónica        Giron

She-Osmosis-Me by Mónica        Giron
Museo de Arte Latinoamericano de Buenos Aires,
Oct 19, 2007 - Nov 26, 2007
Buenos Aires , Argentina

by Gustavo Buntinx

Observation of Hysteria

This precious work, whose exact revelation took place at the 2006 exhibition in vindication of memory articulated to commemorate and condemn the 30th anniversary of the beginning of the genocidal dictatorship and its systematic policies of disappearance and voidance. Behind that intersection of codes there was implicit a symbiosis of registers. As in the two impressive different groups of decapitated, deformed, impaled heads - some of them exhibiting bloody traces in friction with the alchemical connotations of bronze, of silver, of gold.

From a distance, those groups seem to refer to the iconography of horror during the grand violence experienced in Argentina during the nineteenth century, particularly the crimes attributed to the Mazorca, the rabble used for Juan Manuel de Rosas’s political persecutions. Created between 2003 and 2006, those so expressive bundles also condense the more analytical processes of the artist’s subjective process. "Observation of hysteria" is the motto inscribed in one of the prints that accompanies the first sequence, explicitly titled Cabezas reducidas [Shrunken Heads] and displayed as though in an incubator. Or in an archaeological showcase: a museographical parody for pieces that are contemplated in their self-contemplation, explained through categories ("Masoquismo autocompasión" [Masochism self-compassion], "Fusión compensatoria" [Compensatory fusion]) which in turn parody a certain Freudian obsession. One incisive detail is that the engravings reproduce not the final neat objects of polished wax, but their initial modeling in raw clay, whose greater dramatism is contrasted - and stressed - by the alphabetical and numerical segmentation of the labels.

Somewhere in between the arbitrary and the maniac, that (dis)articulation of the texts refers to the (dis)figuring of trephined skulls and faces that, dauntless, duplicate organs or erupt skins. Auto-plastic effects that are exacerbated in a second series - Òsmosis [Osmosis] - where sexual alterity and psychic flows between the ego and the id are embodied in monstrously lyrical Siamese projections. The artistic materialization of the difficulty of the body, the difficulty embedded in it, to say it in the artist’s own words.

Concepts and shapes that become inevitably associated with the psychoanalytic metaphor of hysteria as a word trapped in a body. The liberation of that word is perhaps the supreme effort of the works now exhibited. An even matteric effort.


Matteric even. Starting with its technique and its title, this exhibition is conceived by Giron as an eccentric, marginal anachronism. We could almost say a wax museum. A parallel chant to Adán Buenosayres (1948) - Leopoldo Marechal’s agonal and genesical novel, with his grotesque homage to the mythical lucubrations elaborated by Xul Solar and the Martinfierrista generation of rupture and foundation for Argentine modernity. But while the writer relishes in sketching future hybrid identities, fabulous frankensteins of techno-pampa graftings, the artist proposes a ventral introspection, a regression towards the ancestral and the Real, in the Lacanian sense of the word. Not the strictly social, but the primordial in its more organic phantasms. The viscous and the visceral as the essence of what is left out of the Symbolic. And mediating between both, the specular fixation of the Imaginary, coalescing with the panic-fear of castration in the game of self-absorbed decapitations.

The culmination of these passages is a matricial biopoetics whose most extreme formalization could well be that recent Laguna [Lagoon] (2007), which offers itself suspended like a protozoan meteorite with hanging udders and obscene protuberances. The breeding ground for the archaic and the yet to come, whose formless forms struggle to sprout and emerge from the wax that confounds and configures them at the same time.

The multipara womb of a new and protean body. An organic emergence that in another recent piece (2003-2007) acquires monumental dimensions and an almost epical name: Neocriollo, like the "laboratory monster" in which Marechal personifies the linguistic artifices conceived by Xul as a utopian solution to the Babelic tensions in the Rí­o de la Plata. The Adamic language of a future city that Giron embodies in the collective volume of a semi-human cluster: unfinished creatures whose individualized outline of children and adults fails to distinguish or separate them from the amorphous mass that coalesces and constitutes them as an assembled entity. A perhaps heroic mass, whose also sinister aspect is exasperated by the disturbing display of pupils that act as its keen visive punctum. The literal and unsettling configuration of that rare aura postulated by Benjamin in the gaze the observed object returns to the viewer - and to his/her gaze thus disrupted.

The destabilizing element in that insinuation becomes even more intense in Laguna, where it is however attenuated by the circular marks that render a cultural and cosmic sense to the voluptuous crevices and folds in this entirely erogenous body. Almost anatomical incisions, which Giron associates to those other spiraled ones of the Neolithic stones that mark the threshold and the culmination of the underground passage of Newgrange, in Ireland. A space with uterine rather than funerary suggestions. Not a burial place but a womb, pierced during the solstice by a fleeting sunbeam that impregnates with light the esoteric inscriptions.

The fecundation, the fecundity of the prima materia, could well be the other and alchemical sense of these fascinating, revulsive pieces. Starting with the accumulation of spherical matter that associates the ceramic model of Neocriollo to a prehistoric steatopygic Venus. And culminating in the different life that emerges from the gelatinous mass. Like the iridescent sperm swimming in the milky turbidness of semen, like the ovular phosphorescence floating in the embryonic flow. Metaphors that now acquire a new density in the face of the final dissolution of our corporeal frontiers by the advances of genetic engineering.

This nascent humanity is also the species contemplating its probable extinction, its inevitable but uncertain technomutation, its unfathomable prospects.
The darkening of the world. And the posthumous illuminations of the aura.

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