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Kdir López
Rufo Caballero
 
"...Kdir has come to be, in the last mentioned sense, our redresser of rhetorical wrongs, our fortunate deconstructor of reflexive, iconological transcendentalism which has been unlucky enough to transform itself into a supra-rational scaremongering tending to cancel ― if you’ll excuse the paradox―, any true sign of lucidity, of real reason. This very exhibition bursts in gracefully, permeated by the spirits of game, and to take notice of it no would not even have to wait for the artistic texts...

Everything in Kdir is suspiciously calculated from a refined irony where everything is text, like in post-structuralism. The eagerness to play, to go against what is sacred, validates itself in the project-like character of his executions, while we can infer it from the apparent correction of each one of his previous works, wherewith he seals his title, his dear gift of self- parodist. Analyzing the texts we would agree that notions like the artist as a player, the specificity of the creation expressed in its imprisoned substance, or the island of Cuba as a filter, really becomes to some degree deconstructions of symbolic paradigms which somehow make the iconographical traditions ―the pregnancy of which has prevented the revealing virtues of gaming―, lose their semantics. More than a game for having fun, this is a game ―no less serious, by the way, for “brushing up on the icons”, for oxygenating the tropological charge of the sign...

And I do not mean that gaming as such imply childishness; I mea that the best and most appropriate things are said jokingly. Kdir’s work articulates a poetic about the limits between ironic dismantling of paradigms and the subconscious appeal to new and unalienated supports of understanding. I believe, therefore, that the main importance of his works is not in that eagerness for de-constructing (that would be too simple) but in the substantial way in which they unalienate and “emancipate” our referential conscientiousness, discrediting share and share alike the del socialist realism’s clichés and the trans-avant-garde ―either right wingers that left wingers―, of the eighties and nineties, the emancipating project and also the restitution of the esthetic paradigm of art..."

(Excerpts taken from: Kdir, evitando la caduca cadencia de las causas, by Rufo Caballero, published in the Arte Cubano magazine, No.1, 1997, p.65-67)