What should we think about the suit of lights which, like a simulacrum of death, lies on the bare table
of an installation by José Gabriel Fernández? What should we think of the mestizo features, the naked and
brown body of the Black Diamond, that stare out from a photograph captured by the passion of Alfredo Boulton,
and which Fernández included in his installation? How do we sow or embroider both of these records together,
the body and its fleshlessdress, the contemporary artist and the reference - ignored by many -
to the historian Boulton, and therefore to the local circumstances of Venezuela and those of Latin America?
How do we locate then, at the beginning of these working notes,
the suspended figure of Juanito Apiñani, as Goya's bullfighter is named, in Goya's print?
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