Javier Marín – La Estafeta del tiempo
Cuando Javier expuso en Zacatecas en noviembre de 2005 visitó más de una vez la catedral, situada en la calle Hidalgo, entre el mercado y la Plaza de Armas. Le impresionaba su belleza barroca, su cantera rosa, sus columnas salomónicas churriguerescas, pero detestaba que fuera un mero cascarón. “Siempre hacía yo la misma reflexión. La veía por fuera y decía: ¡qué increíble catedral! Me fascinaba su exuberancia barroca, pero al entrar se me caía el ánimo: no había a dónde dirigirse, carecía de algún punto importante”.
Javier Marín – Palabras de barro
El tránsito, un antecedente
El que yo sea artista tiene que ver mucho con mi papá, pues él pintaba y todos sus hijospintamos. En la educación de la primera infancia, aunque uno sea o no artista, hay algo; en mi casa ganamos los creadores: Jorge, mi hermano, se volvió artista; Alfredo, restaurador deobras de arte; Carlos, diseñador gráfico y también pinta y hace escultura; dos de los mayores…
Javier Poza entrevista a Javier Marín
Estoy en esta última visita, y digo última porque estoy a punto de concluir el proyecto este del retablo, de la catedral. Que es un proyecto además que comencé hace más o menos dos años a partir de la invitación que me hiciera el gobierno del Estado de Zacatecas. A través de la secretaría de turismo, porque quería proveer a la catedral que tenía el muro a donde correspondía debería estar el retablo estaba vacío, y decidieron muy valientemente hacer una intervención contemporánea. Convocaron a un concurso a 16 creadores.
Enigma and the Spatial
Beyond the notoriety of its volumes, the sculptural installation completed by Javier Marín during the summer 2008 in Pietrasanta (Lucca, Italy) claims relevance because of its overall conceptualization of the assembly as a spatial problem and the power of significance that this implies.
For the first time, although perceived and developing from its earliest attempts to make his human masses interact with the exhibition space (Sculptures, Espace Pierre Cardin, Paris. 2000-2001) and his scaffolding with suspended bodies (Javier Marín.
The body of things
At times we forget that without a body, there would be no soul, or something akin to a soul. We overlook that talent, in the absence of instruments, could not exist. We need to be reminded that inanimate things require physical appearance to make their presence known. All feelings seek an organ to dwell in: love, in the heart; envy, in teeth; tenderness, in skin…
The Blissful of Uneasiness of Form
Only through weakness may any metaphysical uneasiness be discovered in Javier Marín, in each one of the forms that he looks for within himself, in his Venuses, his warriors, his torsos and his horses. There is no uneasiness, in the trivial sense that is existential.
On the fragment in the sculpture of Javier Marín
Something rather disturbing affects one’s spirit upon entering any space, preferably solemn and immense, impressive and laden with history, where the equally monumental figures of Javier Marín are found, interconnected in accordance with a carefully calibrated dramaturgy. The impression of unity leads one to assume that they came to be there naturally—that they have always been there—before that disturbing sensation suggests an ancient order, collapsed and heretofore unknown, conferred by a world just as ancient and no less unknown that has entered into a dialogue with ours.
The history of Western sculpture recounts the relationship between man and the space surrounding him, presenting this relationship in language that expresses consciousness of the figure’s creation. The sculptor is the craftsman of a visual artwork realized through a process of delimitation, who puts a bit of space, a piece of the world, into an enclosure where the materials that concretely occupy that space offer their skin to our gaze.
Figures of the Metamorphosis and the Threshold
Baroque poetics reinstate, reevaluate, and develop the Classical conception of art as mimesis or imitation. Art is indeed representation, but the aim of representation is not merely to present the object transposed onto canvas or to space. It is to impress, to move, to persuade. But to persuade in what manner? Maybe in none at all, since truth and beauty cannot simply be imposed, as can a building, a picture, a film, or a sculpture. In fact, art is the exudation of the imagination.
Javier Marín: Sculptor of the bare life, Homo Sacer, the body without organs
A series of texts bearing my signature attest to the fact that for several years I have tried to unravel a mystery: the uniqueness of Javier Marín as a sculptor, the distinctive stamp of his sculptures in the history of the visual arts. In these texts I have asked myself by my own right—from my eccentric position as a psychoanalystto interrogate works of art that have no need for my disquisitions and even less for my interpretations, for they say on their own what they have to say without outside interference.
The Weakened Body
The contemporary mania to reduce everything to crystal clear, synthetic images for face le circulation ¡n the media has also touched art. We reduce artists to formulas and slogans that, instead of bringing us closer to under-standing the creator’s work, distance us from it.
Javier Marín I Imagine Myself
Javier Marín’s art is the creation of a virtuoso. Describing his work with such a complicated term involves a multiple discourse—arguments that are a part of this text. Art, in the first place, is the human possibility of transforming matter into expression.
The order of chaos
Javier Marín is a well-known Mexican sculptor whose work transcends boundaries. Initiated handling the human figure, of playfull spirit and simple forms, almost schematic, in small dimensions, grew in time, both physically and emotionally, affecting the positions, complicating them.