critical texts


Lossing the enthusiasm for writing after having written.
Elvia Rosa Castro

Warning: What you are about to read may be full of vacuousness, though the supposedly exact words have been chosen.

¿Truth? These are the five Jews that have influenced the most in the way of seeing the world and its changes:

Moses said: “Law is ALL...”
Jesus said: “Love is ALL...”
Marx said: “the Capital is ALL...”
Freud said: “Sex is ALL...”

Afterwards came Einstein and shattered the theories when he said: “ALL is relative”

Jorge Wellesley´s work has room for multiple panning. If we were to refer to the relationship between art and design, his works would be arequiered reference; if we were to talk about the communion of image and text in the work of art, we would be equally pressured by its categorical nature. And if we were to execute those generational settlings of scores, or simply diagnose a period, his name would attract the attention of the specialist or critic in our case.
Trying-though it may be necessary one day-to relate it with the most orthodox conceptualism or with neoconcrete art, would be almost a too common place. As a result, starting by The origin of Tragedy seems to me a pretext more fruitive as it is less obvious.
I´m almost sure that for Nietzsche, tragedy was an illustrated excuse to reveal the crisis of Western thinking and its ways of representation, or it itself. All critique to Apollonian cannon becomes, ipso facto, a critique to the very same theme of representation, to binarism, to the deconnection from reality, to that disorder through language that, in the 19th century a scientist would call aphasia, a term that would later be taken up again by logical positivism.
It is about an always sublimate, and hence hidden chaos, for we do not notice such disjunction....., luckily.
Some thinkers, among them the Cuban Alexis Jardines, locate this crisis in the exact origin of the conscience of the self, or in its process of splitting. From the moment in which the self stops being the reality to become a part of it (objective or subjective), and besides, starts to arbitrarily or conventionally designate it, what Jorge calls abstraction appears and self, androgynia or tropologic manifestation.
He brings to a visual level the very same concerns of Nietzsche, Jardines and other theorists of the 19th century. It is also a topic that appear in the works of other young artists, so to say, from the same promotion of Wellesley. Such are the cases of Hander Lara, Irving Vera and Yornel Martínez, just to mention three examples.
Enmanuel Kant perhaps possesses an answer to these disquisitions. According to him, the subject owns a patrimonial situation or an inherited knowledge about a determined object or reality, and that inheritance is, at times, in direct conflict with the newly adquired knowledges about the very same object, thas is why, the concept is an entity in process and not a static one. At this point, chaos, rupture, disorder, and then it all seems to go back to normal. Let´s not forget that lezamian wisdom: “defining is reducing to ashes”.
But if in other young people the poetics emerge from a direct descent that can be mainly literature, Wiggenstein, or Zen Buddhism, in Wellesley this concern comes from an eminently autobiographic area: from the repetition of words, the oblivion of others and, at the same time, from realizing that this indifference with a term lies in the emptiness it carries within itself, in its insignificance and its reduction to mere spelling, mere strokes.
Later, the basic indispensable readings would come-Wiggenstein and his ghosts-, much philosophy, but his works don´t appeal to the verbal supplement, as it happens in those by other artists, but the word, the spelling make up the work as in Bruce Nauman´s neons (One hundred live and die, 1984), or Luis Gómez´s video The men who never existed. And this operation, in itself, already demands an association with design, even though it is not about a clear purpose, which is not Wellesley´s case, who does appeal to the coldness and formal resources that one provides him with to accentuate even more the disjunction. This disciplinary promiscuity, which appears mostly in TRUTH reality and language, also and of course embraces a very superpop look that brings it close to Socialism or Death, the slogan about the canvas by José Hidalgo from Matanzas.

Elvia Rosa Castro