http://javierarce.net/new-gallery-1 daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044215915-LHCUETWAA3A8YFG1D484/1.jpg Cindy Rucker Gallery. New York. Installation image of Retry the life experiment in the communal, Cindy Rucker Gallery, New York. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044215915-LHCUETWAA3A8YFG1D484/1.jpg Cindy Rucker Gallery. New York. Installation image of Retry the life experiment in the communal, Cindy Rucker Gallery, New York. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044262895-XP66VF084CM4Y93RVF75/2.jpg Cindy Rucker Gallery. New York. Retry the life experiment in the communal, 2014. Woodcut print on paper, wooden door. 54.5 x 36 inches. Ed. of 5, 2 AP. Ed. 1/5 with door. Ed.2-5/5. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044339477-R3I9XRQIDAM6TJ7VXA7M/2.retry-the-life-experiment-in-the-communal+javier+arce.jpg Cindy Rucker Gallery. New York. Detail of Retry the life experiment in the communal, 2014. Woodcut print on paper, wooden door. 54.5 x 36 inches. Ed. of 5, 2 AP. Ed. 1/5 with door. Ed.2-5/5. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044410834-SAF0XR79FMLNMXI4PA4K/3.jpg Cindy Rucker Gallery. New York. Detail of Retry the life experiment in the communal, 2014. Woodcut print on paper, wooden door. 54.5 x 36 inches. Ed. of 5, 2 AP. Ed. 1/5 with door. Ed.2-5/5. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044473001-C72MK7Y9Y4U0CCZ8JVKN/javier+arce+4+w_0.jpg Cindy Rucker Gallery. New York. Installation image of Retry the life experiment in the communal, Cindy Rucker Gallery, New York. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444041914402-6KZNEEA84P9IBSOBFODJ/5.jpg Cindy Rucker Gallery. New York. Walden Pond, 2015. Mechanical pencil on newsprint. 58 x 64 inches. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1424691683267-1Y93DVR7TD3IMTALKGUG/6.jpg Cindy Rucker Gallery. New York. Detail of Walden Pond, 2015. Mechanical pencil on newsprint. 58 x 64 inches. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044515934-9P4GL7Q7TDOYVBHCRHKP/7.jpg Cindy Rucker Gallery. New York. Installation image of Retry the life experiment in the communal, Cindy Rucker Gallery, New York. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426790521947-QL0Q2MZGHJ8LZEHPH8MI/image-asset.jpeg Cindy Rucker Gallery. New York. - Sobre el tercer paisaje. Javier Arce. Sobre el Tercer Paisaje, 2015. HD single channel video, two letters, 7 min. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444042907091-F1R3OLCWWYH5MCSBGJF9/2.jpg Cindy Rucker Gallery. New York. The Poor Man's Friend. Mechanical pencil on newsprint, 42 x 26 inches, 2014. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444042538491-V0M1P1204GPOFIE7Y1F3/9.jpg Cindy Rucker Gallery. New York. Detail of The Poor Man's Friend. Mechanical pencil on newsprint, 42 x 26 inches, 2014. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044550641-X8G8TGKN33D3CBUGHMSM/image-asset.jpeg Cindy Rucker Gallery. New York. Installation image of Retry the life experiment in the communal, Cindy Rucker Gallery, New York. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1427405013057-Q0W48HIEK8UREUB6P12G/image-asset.jpeg Cindy Rucker Gallery. New York. - DOBLAR LA TIERRA. Doblar la Tierra, 2014. HD single channel, 5:42 minutos. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444042268734-OSPXW356RCHJV8I036CT/image-asset.jpeg Cindy Rucker Gallery. New York. Arbol, 2014. Mechanical pencil on newsprint (diptych), 46 x 59 inches. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444042393374-JB1ABBF8DV3PGWJ4UVB0/12.jpg Cindy Rucker Gallery. New York. Detail of Arbol, 2014. Mechanical pencil on newsprint (diptych), 46 x 59 inches. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044594507-R5366UJ9QA319TQX9X9W/13.jpg Cindy Rucker Gallery. New York. 02.14.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. Unabomber's Manifesto The following is full text of the Unabomber's Manifesto. INTRODUCTION 1. The Industrial Revolution and its consequences have been a disaster for the human race. They have greatly increased the life-expectancy of those of us who live in "advanced" countries, but they have destabilized society, have made life unfulfilling, have subjected human beings to indignities, have led to widespread psychological suffering (in the Third World to physical suffering as well) and have inflicted severe damage on the natural world. The continued development of technology will worsen the situation. It will certainly subject human beings to greater indignities and inflict greater damage on the natural world, it will probably lead to greater social disruption and psychological suffering, and it may lead to increased physical suffering even in "advanced" countries. 2. The industrial-technological system may survive or it may break down. If it survives, it MAY eventually achieve a low level of physical and psychological suffering, but only after passing through a long and very painful period of adjustment and only at the cost of permanently reducing human beings and many other living organisms to engineered products and mere cogs in the social machine. Furthermore, if the system survives, the consequences will be inevitable: There is no way of reforming or modifying the system so as to prevent it from depriving people of dignity and autonomy. 3. If the system breaks down the consequences will still be very painful. But the bigger the system grows the more disastrous the results of its breakdown will be, so if it is to break down it had best break down sooner rather than later. 4. We therefore advocate a revolution against the industrial system. This revolution may or may not make use of violence: it may be sudden or it may be a relatively gradual process spanning a few decades. We can't predict any of that. But we do outline in a very general way the measures that those who hate the industrial system should take in order to prepare the way for a revolution against that form of society. This is not to be a POLITICAL revolution. Its object will be to overthrow not governments but the economic and technological basis of the present society. 5. In this article we give attention to only some of the negative developments that have grown out of the industrial-technological system. Other such developments we mention only briefly or ignore altogether. This does not mean that we regard these other developments as unimportant. For practical reasons we have to confine our discussion to areas that have received insufficient public attention or in which we have something new to say. For example, since there are well-developed environmental and wilderness movements, we have written very little about environmental degradation or the destruction of wild nature, even though we consider these to be highly important. THE PSYCHOLOGY OF MODERN LEFTISM 6. Almost everyone will agree that we live in a deeply troubled society. One of the most widespread manifestations of the craziness of our world is leftism, so a discussion of the psychology of leftism can serve as an introduction to the discussion of the problems of modern society in general. 7. But what is leftism? During the first half of the 20th century leftism could have been practically identified with socialism. Today the movement is fragmented and it is not clear who can properly be called a leftist. When we speak of leftists in this article we have in mind mainly socialists, collectivists, "politically correct" types, feminists, gay and disability activists, animal rights activists and the like. But not everyone who is associated with one of these movements is a leftist. What we are trying to get at in discussing leftism is not so much a movement or an ideology as a psychological type, or rather a collection of related types. Thus, what we mean by "leftism" will emerge more clearly in the course of our discussion of leftist psychology (Also, see paragraphs 227-230.) 8. Even so, our conception of leftism will remain a good deal less clear than we would wish, but there doesn't seem to be any remedy for this. All we are trying to do is indicate in a rough and approximate way the two psychological tendencies that we believe are the main driving force of modern leftism. We by no means claim to be telling the WHOLE truth about leftist psychology. Also, our discussion is meant to apply to modern leftism only. We leave open the question of the extent to which our discussion could be applied to the leftists of the 19th and early 20th century.   https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044641059-3ZZRY6ZBMV503Q2L0BG5/14.jpg Cindy Rucker Gallery. New York. Detail of Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1424964180403-4WLDG3I5BU9ZHLACTL49/16.jpg Cindy Rucker Gallery. New York. 02.19.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 9. The two psychological tendencies that underlie modern leftism we call "feelings of inferiority" and "oversocialization." Feelings of inferiority are characteristic of modern leftism as a whole, while oversocialization is characteristic only of a certain segment of modern leftism; but this segment is highly influential. FEELINGS OF INFERIORITY 10. By "feelings of inferiority" we mean not only inferiority feelings in the strictest sense but a whole spectrum of related traits: low self-esteem, feelings of powerlessness, depressive tendencies, defeatism, guilt, self-hatred, etc. We argue that modern leftists tend to have such feelings (possibly more or less repressed) and that these feelings are decisive in determining the direction of modern leftism. 11. When someone interprets as derogatory almost anything that is said about him (or about groups with whom he identifies) we conclude that he has inferiority feelings or low self-esteem. This tendency is pronounced among minority rights advocates, whether or not they belong to the minority groups whose rights they defend. They are hypersensitive about the words used to designate minorities. The terms "negro," "oriental," "handicapped" or "chick" for an African, an Asian, a disabled person or a woman originally had no derogatory connotation. "Broad" and "chick" were merely the feminine equivalents of "guy," "dude" or "fellow." The negative connotations have been attached to these terms by the activists themselves. Some animal rights advocates have gone so far as to reject the word "pet" and insist on its replacement by "animal companion." Leftist anthropologists go to great lengths to avoid saying anything about primitive peoples that could conceivably be interpreted as negative. They want to replace the word "primitive" by "nonliterate." They seem almost paranoid about anything that might suggest that any primitive culture is inferior to our own. (We do not mean to imply that primitive cultures ARE inferior to ours. We merely point out the hypersensitivity of leftish anthropologists.) 12. Those who are most sensitive about "politically incorrect" terminology are not the average black ghetto-dweller, Asian immigrant, abused woman or disabled person, but a minority of activists, many of whom do not even belong to any "oppressed" group but come from privileged strata of society. Political correctness has its stronghold among university professors, who have secure employment with comfortable salaries, and the majority of whom are heterosexual, white males from middle-class families. 13. Many leftists have an intense identification with the problems of groups that have an image of being weak (women), defeated (American Indians), repellent (homosexuals), or otherwise inferior. The leftists themselves feel that these groups are inferior. They would never admit it to themselves that they have such feelings, but it is precisely because they do see these groups as inferior that they identify with their problems. (We do not suggest that women, Indians, etc., ARE inferior; we are only making a point about leftist psychology). 14. Feminists are desperately anxious to prove that women are as strong as capable as men. Clearly they are nagged by a fear that women may NOT be as strong and as capable as men. 15. Leftists tend to hate anything that has an image of being strong, good and successful. They hate America, they hate Western civilization, they hate white males, they hate rationality. The reasons that leftists give for hating the West, etc. clearly do not correspond with their real motives. They SAY they hate the West because it is warlike, imperialistic, sexist, ethnocentric and so forth, but where these same faults appear in socialist countries or in primitive cultures, the leftist finds excuses for them, or at best he GRUDGINGLY admits that they exist; whereas he ENTHUSIASTICALLY points out (and often greatly exaggerates) these faults where they appear in Western civilization. Thus it is clear that these faults are not the leftist's real motive for hating America and the West. He hates America and the West because they are strong and successful. 16. Words like "self-confidence," "self-reliance," "initiative", "enterprise," "optimism," etc. play little role in the liberal and leftist vocabulary. The leftist is anti-individualistic, pro-collectivist. He wants society to solve everyone's needs for them, take care of them. He is not the sort of person who has an inner sense of confidence in his own ability to solve his own problems and satisfy his own needs. The leftist is antagonistic to the concept of competition because, deep inside, he feels like a loser. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1424964203779-3DGJF6PBKMVKEXNNCFMB/17.jpg Cindy Rucker Gallery. New York. 02.20.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 17. Art forms that appeal to modern leftist intellectuals tend to focus on sordidness, defeat and despair, or else they take an orgiastic tone, throwing off rational control as if there were no hope of accomplishing anything through rational calculation and all that was left was to immerse oneself in the sensations of the moment. 18. Modern leftist philosophers tend to dismiss reason, science, objective reality and to insist that everything is culturally relative. It is true that one can ask serious questions about the foundations of scientific knowledge and about how, if at all, the concept of objective reality can be defined. But it is obvious that modern leftist philosophers are not simply cool-headed logicians systematically analyzing the foundations of knowledge. They are deeply involved emotionally in their attack on truth and reality. They attack these concepts because of their own psychological needs. For one thing, their attack is an outlet for hostility, and, to the extent that it is successful, it satisfies the drive for power. More importantly, the leftist hates science and rationality because they classify certain beliefs as true (i.e., successful, superior) and other beliefs as false (i.e. failed, inferior). The leftist's feelings of inferiority run so deep that he cannot tolerate any classification of some things as successful or superior and other things as failed or inferior. This also underlies the rejection by many leftists of the concept of mental illness and of the utility of IQ tests. Leftists are antagonistic to genetic explanations of human abilities or behavior because such explanations tend to make some persons appear superior or inferior to others. Leftists prefer to give society the credit or blame for an individual's ability or lack of it. Thus if a person is "inferior" it is not his fault, but society's, because he has not been brought up properly. 19. The leftist is not typically the kind of person whose feelings of inferiority make him a braggart, an egotist, a bully, a self-promoter, a ruthless competitor. This kind of person has not wholly lost faith in himself. He has a deficit in his sense of power and self-worth, but he can still conceive of himself as having the capacity to be strong, and his efforts to make himself strong produce his unpleasant behavior. [1] But the leftist is too far gone for that. His feelings of inferiority are so ingrained that he cannot conceive of himself as individually strong and valuable. Hence the collectivism of the leftist. He can feel strong only as a member of a large organization or a mass movement with which he identifies himself. 20. Notice the masochistic tendency of leftist tactics. Leftists protest by lying down in front of vehicles, they intentionally provoke police or racists to abuse them, etc. These tactics may often be effective, but many leftists use them not as a means to an end but because they PREFER masochistic tactics. Self-hatred is a leftist trait. 21. Leftists may claim that their activism is motivated by compassion or by moral principle, and moral principle does play a role for the leftist of the oversocialized type. But compassion and moral principle cannot be the main motives for leftist activism. Hostility is too prominent a component of leftist behavior; so is the drive for power. Moreover, much leftist behavior is not rationally calculated to be of benefit to the people whom the leftists claim to be trying to help. For example, if one believes that affirmative action is good for black people, does it make sense to demand affirmative action in hostile or dogmatic terms? Obviously it would be more productive to take a diplomatic and conciliatory approach that would make at least verbal and symbolic concessions to white people who think that affirmative action discriminates against them. But leftist activists do not take such an approach because it would not satisfy their emotional needs. Helping black people is not their real goal. Instead, race problems serve as an excuse for them to express their own hostility and frustrated need for power. In doing so they actually harm black people, because the activists' hostile attitude toward the white majority tends to intensify race hatred. 22. If our society had no social problems at all, the leftists would have to INVENT problems in order to provide themselves with an excuse for making a fuss. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1424964336743-QV53O1BL1YHVLR3E1JZL/18.jpg Cindy Rucker Gallery. New York. 02.21.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 23. We emphasize that the foregoing does not pretend to be an accurate description of everyone who might be considered a leftist. It is only a rough indication of a general tendency of leftism. OVERSOCIALIZATION 24. Psychologists use the term "socialization" to designate the process by which children are trained to think and act as society demands. A person is said to be well socialized if he believes in and obeys the moral code of his society and fits in well as a functioning part of that society. It may seem senseless to say that many leftists are over-socialized, since the leftist is perceived as a rebel. Nevertheless, the position can be defended. Many leftists are not such rebels as they seem. 25. The moral code of our society is so demanding that no one can think, feel and act in a completely moral way. For example, we are not supposed to hate anyone, yet almost everyone hates somebody at some time or other, whether he admits it to himself or not. Some people are so highly socialized that the attempt to think, feel and act morally imposes a severe burden on them. In order to avoid feelings of guilt, they continually have to deceive themselves about their own motives and find moral explanations for feelings and actions that in reality have a non-moral origin. We use the term "oversocialized" to describe such people. [2] 26. Oversocialization can lead to low self-esteem, a sense of powerlessness, defeatism, guilt, etc. One of the most important means by which our society socializes children is by making them feel ashamed of behavior or speech that is contrary to society's expectations. If this is overdone, or if a particular child is especially susceptible to such feelings, he ends by feeling ashamed of HIMSELF. Moreover the thought and the behavior of the oversocialized person are more restricted by society's expectations than are those of the lightly socialized person. The majority of people engage in a significant amount of naughty behavior. They lie, they commit petty thefts, they break traffic laws, they goof off at work, they hate someone, they say spiteful things or they use some underhanded trick to get ahead of the other guy. The oversocialized person cannot do these things, or if he does do them he generates in himself a sense of shame and self-hatred. The oversocialized person cannot even experience, without guilt, thoughts or feelings that are contrary to the accepted morality; he cannot think "unclean" thoughts. And socialization is not just a matter of morality; we are socialized to confirm to many norms of behavior that do not fall under the heading of morality. Thus the oversocialized person is kept on a psychological leash and spends his life running on rails that society has laid down for him. In many oversocialized people this results in a sense of constraint and powerlessness that can be a severe hardship. We suggest that oversocialization is among the more serious cruelties that human beings inflict on one another. 27. We argue that a very important and influential segment of the modern left is oversocialized and that their oversocialization is of great importance in determining the direction of modern leftism. Leftists of the oversocialized type tend to be intellectuals or members of the upper-middle class. Notice that university intellectuals (3) constitute the most highly socialized segment of our society and also the most left-wing segment. 28. The leftist of the oversocialized type tries to get off his psychological leash and assert his autonomy by rebelling. But usually he is not strong enough to rebel against the most basic values of society. Generally speaking, the goals of today's leftists are NOT in conflict with the accepted morality. On the contrary, the left takes an accepted moral principle, adopts it as its own, and then accuses mainstream society of violating that principle. Examples: racial equality, equality of the sexes, helping poor people, peace as opposed to war, nonviolence generally, freedom of expression, kindness to animals. More fundamentally, the duty of the individual to serve society and the duty of society to take care of the individual. All these have been deeply rooted values of our society (or at least of its middle and upper classes (4) for a long time. These values are explicitly or implicitly expressed or presupposed in most of the material presented to us by the mainstream communications media and the educational system. Leftists, especially those of the oversocialized type, usually do not rebel against these principles but justify their hostility to society by claiming (with some degree of truth) that society is not living up to these principles. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1424964355121-QEU8723R62UB2738OBXF/19.jpg Cindy Rucker Gallery. New York. 02.22.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 29. Here is an illustration of the way in which the oversocialized leftist shows his real attachment to the conventional attitudes of our society while pretending to be in rebellion against it. Many leftists push for affirmative action, for moving black people into high-prestige jobs, for improved education in black schools and more money for such schools; the way of life of the black "underclass" they regard as a social disgrace. They want to integrate the black man into the system, make him a business executive, a lawyer, a scientist just like upper-middle-class white people. The leftists will reply that the last thing they want is to make the black man into a copy of the white man; instead, they want to preserve African American culture. But in what does this preservation of African American culture consist? It can hardly consist in anything more than eating black-style food, listening to black-style music, wearing black-style clothing and going to a black-style church or mosque. In other words, it can express itself only in superficial matters. In all ESSENTIAL respects more leftists of the oversocialized type want to make the black man conform to white, middle-class ideals. They want to make him study technical subjects, become an executive or a scientist, spend his life climbing the status ladder to prove that black people are as good as white. They want to make black fathers "responsible." they want black gangs to become nonviolent, etc. But these are exactly the values of the industrial-technological system. The system couldn't care less what kind of music a man listens to, what kind of clothes he wears or what religion he believes in as long as he studies in school, holds a respectable job, climbs the status ladder, is a "responsible" parent, is nonviolent and so forth. In effect, however much he may deny it, the oversocialized leftist wants to integrate the black man into the system and make him adopt its values. 30. We certainly do not claim that leftists, even of the oversocialized type, NEVER rebel against the fundamental values of our society. Clearly they sometimes do. Some oversocialized leftists have gone so far as to rebel against one of modern society's most important principles by engaging in physical violence. By their own account, violence is for them a form of "liberation." In other words, by committing violence they break through the psychological restraints that have been trained into them. Because they are oversocialized these restraints have been more confining for them than for others; hence their need to break free of them. But they usually justify their rebellion in terms of mainstream values. If they engage in violence they claim to be fighting against racism or the like. 31. We realize that many objections could be raised to the foregoing thumb-nail sketch of leftist psychology. The real situation is complex, and anything like a complete description of it would take several volumes even if the necessary data were available. We claim only to have indicated very roughly the two most important tendencies in the psychology of modern leftism. 32. The problems of the leftist are indicative of the problems of our society as a whole. Low self-esteem, depressive tendencies and defeatism are not restricted to the left. Though they are especially noticeable in the left, they are widespread in our society. And today's society tries to socialize us to a greater extent than any previous society. We are even told by experts how to eat, how to exercise, how to make love, how to raise our kids and so forth. THE POWER PROCESS 33. Human beings have a need (probably based in biology) for something that we will call the "power process." This is closely related to the need for power (which is widely recognized) but is not quite the same thing. The power process has four elements. The three most clear-cut of these we call goal, effort and attainment of goal. (Everyone needs to have goals whose attainment requires effort, and needs to succeed in attaining at least some of his goals.) The fourth element is more difficult to define and may not be necessary for everyone. We call it autonomy and will discuss it later (paragraphs 42-44). 34. Consider the hypothetical case of a man who can have anything he wants just by wishing for it. Such a man has power, but he will develop serious psychological problems. At first he will have a lot of fun, but by and by he will become acutely bored and demoralized. Eventually he may become clinically depressed. History shows that leisured aristocracies tend to become decadent. This is not true of fighting aristocracies that have to struggle to maintain their power. But leisured, secure aristocracies that have no need to exert themselves usually become bored, hedonistic and demoralized, even though they have power. This shows that power is not enough. One must have goals toward which to exercise one's power. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1424964365335-YU0G389OMG3JY8YL3990/20.jpg Cindy Rucker Gallery. New York. 02.25.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 35. Everyone has goals; if nothing else, to obtain the physical necessities of life: food, water and whatever clothing and shelter are made necessary by the climate. But the leisured aristocrat obtains these things without effort. Hence his boredom and demoralization. 36. Nonattainment of important goals results in death if the goals are physical necessities, and in frustration if nonattainment of the goals is compatible with survival. Consistent failure to attain goals throughout life results in defeatism, low self-esteem or depression. 37. Thus, in order to avoid serious psychological problems, a human being needs goals whose attainment requires effort, and he must have a reasonable rate of success in attaining his goals. SURROGATE ACTIVITIES 38. But not every leisured aristocrat becomes bored and demoralized. For example, the emperor Hirohito, instead of sinking into decadent hedonism, devoted himself to marine biology, a field in which he became distinguished. When people do not have to exert themselves to satisfy their physical needs they often set up artificial goals for themselves. In many cases they then pursue these goals with the same energy and emotional involvement that they otherwise would have put into the search for physical necessities. Thus the aristocrats of the Roman Empire had their literary pretentions; many European aristocrats a few centuries ago invested tremendous time and energy in hunting, though they certainly didn't need the meat; other aristocracies have competed for status through elaborate displays of wealth; and a few aristocrats, like Hirohito, have turned to science. 39. We use the term "surrogate activity" to designate an activity that is directed toward an artificial goal that people set up for themselves merely in order to have some goal to work toward, or let us say, merely for the sake of the "fulfillment" that they get from pursuing the goal. Here is a rule of thumb for the identification of surrogate activities. Given a person who devotes much time and energy to the pursuit of goal X, ask yourself this: If he had to devote most of his time and energy to satisfying his biological needs, and if that effort required him to use his physical and mental facilities in a varied and interesting way, would he feel seriously deprived because he did not attain goal X? If the answer is no, then the person's pursuit of a goal X is a surrogate activity. Hirohito's studies in marine biology clearly constituted a surrogate activity, since it is pretty certain that if Hirohito had had to spend his time working at interesting non-scientific tasks in order to obtain the necessities of life, he would not have felt deprived because he didn't know all about the anatomy and life-cycles of marine animals. On the other hand the pursuit of sex and love (for example) is not a surrogate activity, because most people, even if their existence were otherwise satisfactory, would feel deprived if they passed their lives without ever having a relationship with a member of the opposite sex. (But pursuit of an excessive amount of sex, more than one really needs, can be a surrogate activity.) 40. In modern industrial society only minimal effort is necessary to satisfy one's physical needs. It is enough to go through a training program to acquire some petty technical skill, then come to work on time and exert very modest effort needed to hold a job. The only requirements are a moderate amount of intelligence, and most of all, simple OBEDIENCE. If one has those, society takes care of one from cradle to grave. (Yes, there is an underclass that cannot take physical necessities for granted, but we are speaking here of mainstream society.) Thus it is not surprising that modern society is full of surrogate activities. These include scientific work, athletic achievement, humanitarian work, artistic and literary creation, climbing the corporate ladder, acquisition of money and material goods far beyond the point at which they cease to give any additional physical satisfaction, and social activism when it addresses issues that are not important for the activist personally, as in the case of white activists who work for the rights of nonwhite minorities. These are not always pure surrogate activities, since for many people they may be motivated in part by needs other than the need to have some goal to pursue. Scientific work may be motivated in part by a drive for prestige, artistic creation by a need to express feelings, militant social activism by hostility. But for most people who pursue them, these activities are in large part surrogate activities. For example, the majority of scientists will probably agree that the "fulfillment" they get from their work is more important than the money and prestige they earn. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176675736-SSYA4XASY73PVF4TMVN2/21_javier+arce.jpg Cindy Rucker Gallery. New York. 02.26.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 47. Among the abnormal conditions present in modern industrial society are excessive density of population, isolation of man from nature, excessive rapidity of social change and the break-down of natural small-scale communities such as the extended family, the village or the tribe. 48. It is well known that crowding increases stress and aggression. The degree of crowding that exists today and the isolation of man from nature are consequences of technological progress. All pre-industrial societies were predominantly rural. The industrial Revolution vastly increased the size of cities and the proportion of the population that lives in them, and modern agricultural technology has made it possible for the Earth to support a far denser population than it ever did before. (Also, technology exacerbates the effects of crowding because it puts increased disruptive powers in people's hands. For example, a variety of noise-making devices: power mowers, radios, motorcycles, etc. If the use of these devices is unrestricted, people who want peace and quiet are frustrated by the noise. If their use is restricted, people who use the devices are frustrated by the regulations... But if these machines had never been invented there would have been no conflict and no frustration generated by them.) 49. For primitive societies the natural world (which usually changes only slowly) provided a stable framework and therefore a sense of security. In the modern world it is human society that dominates nature rather than the other way around, and modern society changes very rapidly owing to technological change. Thus there is no stable framework. 50. The conservatives are fools: They whine about the decay of traditional values, yet they enthusiastically support technological progress and economic growth. Apparently it never occurs to them that you can't make rapid, drastic changes in the technology and the economy of a society with out causing rapid changes in all other aspects of the society as well, and that such rapid changes inevitably break down traditional values. 51.The breakdown of traditional values to some extent implies the breakdown of the bonds that hold together traditional small-scale social groups. The disintegration of small-scale social groups is also promoted by the fact that modern conditions often require or tempt individuals to move to new locations, separating themselves from their communities. Beyond that, a technological society HAS TO weaken family ties and local communities if it is to function efficiently. In modern society an individual's loyalty must be first to the system and only secondarily to a small-scale community, because if the internal loyalties of small-scale small-scale communities were stronger than loyalty to the system, such communities would pursue their own advantage at the expense of the system. 52. Suppose that a public official or a corporation executive appoints his cousin, his friend or his co-religionist to a position rather than appointing the person best qualified for the job. He has permitted personal loyalty to supersede his loyalty to the system, and that is "nepotism" or "discrimination," both of which are terrible sins in modern society. Would-be industrial societies that have done a poor job of subordinating personal or local loyalties to loyalty to the system are usually very inefficient. (Look at Latin America.) Thus an advanced industrial society can tolerate only those small-scale communities that are emasculated, tamed and made into tools of the system. [7] 53. Crowding, rapid change and the breakdown of communities have been widely recognized as sources of social problems. but we do not believe they are enough to account for the extent of the problems that are seen today. 54. A few pre-industrial cities were very large and crowded, yet their inhabitants do not seem to have suffered from psychological problems to the same extent as modern man. In America today there still are uncrowded rural areas, and we find there the same problems as in urban areas, though the problems tend to be less acute in the rural areas. Thus crowding does not seem to be the decisive factor. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176699673-GXNGQAC5E83C7ZG64NEQ/22_javier+arce.jpg Cindy Rucker Gallery. New York. 02.27.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable 55. On the growing edge of the American frontier during the 19th century, the mobility of the population probably broke down extended families and small-scale social groups to at least the same extent as these are broken down today. In fact, many nuclear families lived by choice in such isolation, having no neighbors within several miles, that they belonged to no community at all, yet they do not seem to have developed problems as a result. 56.Furthermore, change in American frontier society was very rapid and deep. A man might be born and raised in a log cabin, outside the reach of law and order and fed largely on wild meat; and by the time he arrived at old age he might be working at a regular job and living in an ordered community with effective law enforcement. This was a deeper change that that which typically occurs in the life of a modern individual, yet it does not seem to have led to psychological problems. In fact, 19th century American society had an optimistic and self-confident tone, quite unlike that of today's society. [8] 57. The difference, we argue, is that modern man has the sense (largely justified) that change is IMPOSED on him, whereas the 19th century frontiersman had the sense (also largely justified) that he created change himself, by his own choice. Thus a pioneer settled on a piece of land of his own choosing and made it into a farm through his own effort. In those days an entire county might have only a couple of hundred inhabitants and was a far more isolated and autonomous entity than a modern county is. Hence the pioneer farmer participated as a member of a relatively small group in the creation of a new, ordered community. One may well question whether the creation of this community was an improvement, but at any rate it satisfied the pioneer's need for the power process. 58. It would be possible to give other examples of societies in which there has been rapid change and/or lack of close community ties without he kind of massive behavioral aberration that is seen in today's industrial society. We contend that the most important cause of social and psychological problems in modern society is the fact that people have insufficient opportunity to go through the power process in a normal way. We don't mean to say that modern society is the only one in which the power process has been disrupted. Probably most if not all civilized societies have interfered with the power ' process to a greater or lesser extent. But in modern industrial society the problem has become particularly acute. Leftism, at least in its recent (mid-to-late -20th century) form, is in part a symptom of deprivation with respect to the power process. DISRUPTION OF THE POWER PROCESS IN MODERN SOCIETY 59. We divide human drives into three groups: (1) those drives that can be satisfied with minimal effort; (2) those that can be satisfied but only at the cost of serious effort; (3) those that cannot be adequately satisfied no matter how much effort one makes. The power process is the process of satisfying the drives of the second group. The more drives there are in the third group, the more there is frustration, anger, eventually defeatism, depression, etc. 60. In modern industrial society natural human drives tend to be pushed into the first and third groups, and the second group tends to consist increasingly of artificially created drives. 61. In primitive societies, physical necessities generally fall into group 2: They can be obtained, but only at the cost of serious effort. But modern society tends to guaranty the physical necessities to everyone [9] in exchange for only minimal effort, hence physical needs are pushed into group 1. (There may be disagreement about whether the effort needed to hold a job is "minimal"; but usually, in lower- to middle-level jobs, whatever effort is required is merely that of obedience. You sit or stand where you are told to sit or stand and do what you are told to do in the way you are told to do it. Seldom do you have to exert yourself seriously, and in any case you have hardly any autonomy in work, so that the need for the power process is not well served.) 62. Social needs, such as sex, love and status, often remain in group 2 in modern society, depending on the situation of the individual. [10] But, except for people who have a particularly strong drive for status, the effort required to fulfill the social drives is insufficient to satisfy adequately the need for the power process. 63. So certain artificial needs have been created that fall into group 2, hence serve the need for the power process. Advertising and marketing techniques have been developed that make many people feel they need things that their grandparents never desired or even dreamed of. It requires serious effort to earn enough money to satisfy these artificial needs, hence they fall into group 2. (But see paragraphs 80-82.) Modern man must satisfy his need for the power process largely through pursuit of the artificial needs created by the advertising and marketing industry [11], and through surrogate activities. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176718289-D1YYDIDHIYU238E7KTY2/23_javier+arce.jpg Cindy Rucker Gallery. New York. 02.28.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 64. It seems that for many people, maybe the majority, these artificial forms of the power process are insufficient. A theme that appears repeatedly in the writings of the social critics of the second half of the 20th century is the sense of purposelessness that afflicts many people in modern society. (This purposelessness is often called by other names such as "anomic" or "middle-class vacuity.") We suggest that the so-called "identity crisis" is actually a search for a sense of purpose, often for commitment to a suitable surrogate activity. It may be that existentialism is in large part a response to the purposelessness of modern life. [12] Very widespread in modern society is the search for "fulfillment." But we think that for the majority of people an activity whose main goal is fulfillment (that is, a surrogate activity) does not bring completely satisfactory fulfillment. In other words, it does not fully satisfy the need for the power process. (See paragraph 41.) That need can be fully satisfied only through activities that have some external goal, such as physical necessities, sex, love, status, revenge, etc. 65. Moreover, where goals are pursued through earning money, climbing the status ladder or functioning as part of the system in some other way, most people are not in a position to pursue their goals AUTONOMOUSLY. Most workers are someone else's employee as, as we pointed out in paragraph 61, must spend their days doing what they are told to do in the way they are told to do it. Even most people who are in business for themselves have only limited autonomy. It is a chronic complaint of small-business persons and entrepreneurs that their hands are tied by excessive government regulation. Some of these regulations are doubtless unnecessary, but for the most part government regulations are essential and inevitable parts of our extremely complex society. A large portion of small business today operates on the franchise system. It was reported in the Wall Street Journal a few years ago that many of the franchise-granting companies require applicants for franchises to take a personality test that is designed to EXCLUDE those who have creativity and initiative, because such persons are not sufficiently docile to go along obediently with the franchise system. This excludes from small business many of the people who most need autonomy. 66. Today people live more by virtue of what the system does FOR them or TO them than by virtue of what they do for themselves. And what they do for themselves is done more and more along channels laid down by the system. Opportunities tend to be those that the system provides, the opportunities must be exploited in accord with the rules and regulations [13], and techniques prescribed by experts must be followed if there is to be a chance of success. 67. Thus the power process is disrupted in our society through a deficiency of real goals and a deficiency of autonomy in pursuit of goals. But it is also disrupted because of those human drives that fall into group 3: the drives that one cannot adequately satisfy no matter how much effort one makes. One of these drives is the need for security. Our lives depend on decisions made by other people; we have no control over these decisions and usually we do not even know the people who make them. ("We live in a world in which relatively few people - maybe 500 or 1,00 - make the important decisions" - Philip B. Heymann of Harvard Law School, quoted by Anthony Lewis, New York Times, April 21, 1995.) Our lives depend on whether safety standards at a nuclear power plant are properly maintained; on how much pesticide is allowed to get into our food or how much pollution into our air; on how skillful (or incompetent) our doctor is; whether we lose or get a job may depend on decisions made by government economists or corporation executives; and so forth. Most individuals are not in a position to secure themselves against these threats to more [than] a very limited extent. The individual's search for security is therefore frustrated, which leads to a sense of powerlessness. 68. It may be objected that primitive man is physically less secure than modern man, as is shown by his shorter life expectancy; hence modern man suffers from less, not more than the amount of insecurity that is normal for human beings. but psychological security does not closely correspond with physical security. What makes us FEEL secure is not so much objective security as a sense of confidence in our ability to take care of ourselves. Primitive man, threatened by a fierce animal or by hunger, can fight in self-defense or travel in search of food. He has no certainty of success in these efforts, but he is by no means helpless against the things that threaten him. The modern individual on the other hand is threatened by many things against which he is helpless; nuclear accidents, carcinogens in food, environmental pollution, war, increasing taxes, invasion of his privacy by large organizations, nation-wide social or economic phenomena that may disrupt his way of life. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176751175-7Y39JYKE5WWNM97PH5XQ/25_javierarce.jpg Cindy Rucker Gallery. New York. 03.01.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 69. It is true that primitive man is powerless against some of the things that threaten him; disease for example. But he can accept the risk of disease stoically. It is part of the nature of things, it is no one's fault, unless is the fault of some imaginary, impersonal demon. But threats to the modern individual tend to be MAN-MADE. They are not the results of chance but are IMPOSED on him by other persons whose decisions he, as an individual, is unable to influence. Consequently he feels frustrated, humiliated and angry. 70. Thus primitive man for the most part has his security in his own hands (either as an individual or as a member of a SMALL group) whereas the security of modern man is in the hands of persons or organizations that are too remote or too large for him to be able personally to influence them. So modern man's drive for security tends to fall into groups 1 and 3; in some areas (food, shelter, etc.) his security is assured at the cost of only trivial effort, whereas in other areas he CANNOT attain security. (The foregoing greatly simplifies the real situation, but it does indicate in a rough, general way how the condition of modern man differs from that of primitive man.) 71. People have many transitory drives or impulses that are necessary frustrated in modern life, hence fall into group 3. One may become angry, but modern society cannot permit fighting. In many situations it does not even permit verbal aggression. When going somewhere one may be in a hurry, or one may be in a mood to travel slowly, but one generally has no choice but to move with the flow of traffic and obey the traffic signals. One may want to do one's work in a different way, but usually one can work only according to the rules laid down by one's employer. In many other ways as well, modern man is strapped down by a network of rules and regulations (explicit or implicit) that frustrate many of his impulses and thus interfere with the power process. Most of these regulations cannot be disposed with, because the are necessary for the functioning of industrial society. 72. Modern society is in certain respects extremely permissive. In matters that are irrelevant to the functioning of the system we can generally do what we please. We can believe in any religion we like (as long as it does not encourage behavior that is dangerous to the system). We can go to bed with anyone we like (as long as we practice "safe sex"). We can do anything we like as long as it is UNIMPORTANT. But in all IMPORTANT matters the system tends increasingly to regulate our behavior. 73. Behavior is regulated not only through explicit rules and not only by the government. Control is often exercised through indirect coercion or through psychological pressure or manipulation, and by organizations other than the government, or by the system as a whole. Most large organizations use some form of propaganda [14] to manipulate public attitudes or behavior. Propaganda is not limited to "commercials" and advertisements, and sometimes it is not even consciously intended as propaganda by the people who make it. For instance, the content of entertainment programming is a powerful form of propaganda. An example of indirect coercion: There is no law that says we have to go to work every day and follow our employer's orders. Legally there is nothing to prevent us from going to live in the wild like primitive people or from going into business for ourselves. But in practice there is very little wild country left, and there is room in the economy for only a limited number of small business owners. Hence most of us can survive only as someone else's employee. 74. We suggest that modern man's obsession with longevity, and with maintaining physical vigor and sexual attractiveness to an advanced age, is a symptom of unfulfillment resulting from deprivation with respect to the power process. The "mid-life crisis" also is such a symptom. So is the lack of interest in having children that is fairly common in modern society but almost unheard-of in primitive societies. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176734110-DU79VUONC9JLYRFHYQ1T/24_javier-arce.jpg Cindy Rucker Gallery. New York. 03.05.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 75. In primitive societies life is a succession of stages. The needs and purposes of one stage having been fulfilled, there is no particular reluctance about passing on to the next stage. A young man goes through the power process by becoming a hunter, hunting not for sport or for fulfillment but to get meat that is necessary for food. (In young women the process is more complex, with greater emphasis on social power; we won't discuss that here.) This phase having been successfully passed through, the young man has no reluctance about settling down to the responsibilities of raising a family. (In contrast, some modern people indefinitely postpone having children because they are too busy seeking some kind of "fulfillment." We suggest that the fulfillment they need is adequate experience of the power process -- with real goals instead of the artificial goals of surrogate activities.) Again, having successfully raised his children, going through the power process by providing them with the physical necessities, the primitive man feels that his work is done and he is prepared to accept old age (if he survives that long) and death. Many modern people, on the other hand, are disturbed by the prospect of death, as is shown by the amount of effort they expend trying to maintain their physical condition, appearance and health. We argue that this is due to unfulfillment resulting from the fact that they have never put their physical powers to any use, have never gone through the power process using their bodies in a serious way. It is not the primitive man, who has used his body daily for practical purposes, who fears the deterioration of age, but the modern man, who has never had a practical use for his body beyond walking from his car to his house. It is the man whose need for the power process has been satisfied during his life who is best prepared to accept the end of that life. 76. In response to the arguments of this section someone will say, "Society must find a way to give people the opportunity to go through the power process." For such people the value of the opportunity is destroyed by the very fact that society gives it to them. What they need is to find or make their own opportunities. As long as the system GIVES them their opportunities it still has them on a leash. To attain autonomy they must get off that leash. HOW SOME PEOPLE ADJUST 77. Not everyone in industrial-technological society suffers from psychological problems. Some people even profess to be quite satisfied with society as it is. We now discuss some of the reasons why people differ so greatly in their response to modern society. 78. First, there doubtless are differences in the strength of the drive for power. Individuals with a weak drive for power may have relatively little need to go through the power process, or at least relatively little need for autonomy in the power process. These are docile types who would have been happy as plantation darkies in the Old South. (We don't mean to sneer at "plantation darkies" of the Old South. To their credit, most of the slaves were NOT content with their servitude. We do sneer at people who ARE content with servitude.) 79. Some people may have some exceptional drive, in pursuing which they satisfy their need for the power process. For example, those who have an unusually strong drive for social status may spend their whole lives climbing the status ladder without ever getting bored with that game. 80. People vary in their susceptibility to advertising and marketing techniques. Some people are so susceptible that, even if they make a great deal of money, they cannot satisfy their constant craving for the shiny new toys that the marketing industry dangles before their eyes. So they always feel hard-pressed financially even if their income is large, and their cravings are frustrated. 81. Some people have low susceptibility to advertising and marketing techniques. These are the people who aren't interested in money. Material acquisition does not serve their need for the power process. 82. People who have medium susceptibility to advertising and marketing techniques are able to earn enough money to satisfy their craving for goods and services, but only at the cost of serious effort (putting in overtime, taking a second job, earning promotions, etc.) Thus material acquisition serves their need for the power process. But it does not necessarily follow that their need is fully satisfied. They may have insufficient autonomy in the power process (their work may consist of following orders) and some of their drives may be frustrated (e.g., security, aggression). (We are guilty of oversimplification in paragraphs 80-82 because we have assumed that the desire for material acquisition is entirely a creation of the advertising and marketing industry. Of course it's not that simple. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176773062-HDRJ4XR01UX5SHDF822O/26_javier-arce.jpg Cindy Rucker Gallery. New York. 03.06.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 83. Some people partly satisfy their need for power by identifying themselves with a powerful organization or mass movement. An individual lacking goals or power joins a movement or an organization, adopts its goals as his own, then works toward these goals. When some of the goals are attained, the individual, even though his personal efforts have played only an insignificant part in the attainment of the goals, feels (through his identification with the movement or organization) as if he had gone through the power process. This phenomenon was exploited by the fascists, nazis and communists. Our society uses it, too, though less crudely. Example: Manuel Noriega was an irritant to the U.S. (goal: punish Noriega). The U.S. invaded Panama (effort) and punished Noriega (attainment of goal). The U.S. went through the power process and many Americans, because of their identification with the U.S., experienced the power process vicariously. Hence the widespread public approval of the Panama invasion; it gave people a sense of power. [15] We see the same phenomenon in armies, corporations, political parties, humanitarian organizations, religious or ideological movements. In particular, leftist movements tend to attract people who are seeking to satisfy their need for power. But for most people identification with a large organization or a mass movement does not fully satisfy the need for power. 84. Another way in which people satisfy their need for the power process is through surrogate activities. As we explained in paragraphs 38-40, a surrogate activity that is directed toward an artificial goal that the individual pursues for the sake of the "fulfillment" that he gets from pursuing the goal, not because he needs to attain the goal itself. For instance, there is no practical motive for building enormous muscles, hitting a little ball into a hole or acquiring a complete series of postage stamps. Yet many people in our society devote themselves with passion to bodybuilding, golf or stamp collecting. Some people are more "other-directed" than others, and therefore will more readily attack importance to a surrogate activity simply because the people around them treat it as important or because society tells them it is important. That is why some people get very serious about essentially trivial activities such as sports, or bridge, or chess, or arcane scholarly pursuits, whereas others who are more clear-sighted never see these things as anything but the surrogate activities that they are, and consequently never attach enough importance to them to satisfy their need for the power process in that way. It only remains to point out that in many cases a person's way of earning a living is also a surrogate activity. Not a PURE surrogate activity, since part of the motive for the activity is to gain the physical necessities and (for some people) social status and the luxuries that advertising makes them want. But many people put into their work far more effort than is necessary to earn whatever money and status they require, and this extra effort constitutes a surrogate activity. This extra effort, together with the emotional investment that accompanies it, is one of the most potent forces acting toward the continual development and perfecting of the system, with negative consequences for individual freedom (see paragraph 131). Especially, for the most creative scientists and engineers, work tends to be largely a surrogate activity. This point is so important that is deserves a separate discussion, which we shall give in a moment (paragraphs 87-92). 85. In this section we have explained how many people in modern society do satisfy their need for the power process to a greater or lesser extent. But we think that for the majority of people the need for the power process is not fully satisfied. In the first place, those who have an insatiable drive for status, or who get firmly "hooked" or a surrogate activity, or who identify strongly enough with a movement or organization to satisfy their need for power in that way, are exceptional personalities. Others are not fully satisfied with surrogate activities or by identification with an organization (see paragraphs 41, 64). In the second place, too much control is imposed by the system through explicit regulation or through socialization, which results in a deficiency of autonomy, and in frustration due to the impossibility of attaining certain goals and the necessity of restraining too many impulses. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176797120-R4XUKYK98T7RSPQGPB72/27_javier-arce.jpg Cindy Rucker Gallery. New York. 03.07.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 86. But even if most people in industrial-technological society were well satisfied, we (FC) would still be opposed to that form of society, because (among other reasons) we consider it demeaning to fulfill one's need for the power process through surrogate activities or through identification with an organization, rather then through pursuit of real goals. THE MOTIVES OF SCIENTISTS 87. Science and technology provide the most important examples of surrogate activities. Some scientists claim that they are motivated by "curiosity," that notion is simply absurd. Most scientists work on highly specialized problem that are not the object of any normal curiosity. For example, is an astronomer, a mathematician or an entomologist curious about the properties of isopropyltrimethylmethane? Of course not. Only a chemist is curious about such a thing, and he is curious about it only because chemistry is his surrogate activity. Is the chemist curious about the appropriate classification of a new species of beetle? No. That question is of interest only to the entomologist, and he is interested in it only because entomology is his surrogate activity. If the chemist and the entomologist had to exert themselves seriously to obtain the physical necessities, and if that effort exercised their abilities in an interesting way but in some nonscientific pursuit, then they couldn't giver a damn about isopropyltrimethylmethane or the classification of beetles. Suppose that lack of funds for postgraduate education had led the chemist to become an insurance broker instead of a chemist. In that case he would have been very interested in insurance matters but would have cared nothing about isopropyltrimethylmethane. In any case it is not normal to put into the satisfaction of mere curiosity the amount of time and effort that scientists put into their work. The "curiosity" explanation for the scientists' motive just doesn't stand up. 88. The "benefit of humanity" explanation doesn't work any better. Some scientific work has no conceivable relation to the welfare of the human race - most of archaeology or comparative linguistics for example. Some other areas of science present obviously dangerous possibilities. Yet scientists in these areas are just as enthusiastic about their work as those who develop vaccines or study air pollution. Consider the case of Dr. Edward Teller, who had an obvious emotional involvement in promoting nuclear power plants. Did this involvement stem from a desire to benefit humanity? If so, then why didn't Dr. Teller get emotional about other "humanitarian" causes? If he was such a humanitarian then why did he help to develop the H-bomb? As with many other scientific achievements, it is very much open to question whether nuclear power plants actually do benefit humanity. Does the cheap electricity outweigh the accumulating waste and risk of accidents? Dr. Teller saw only one side of the question. Clearly his emotional involvement with nuclear power arose not from a desire to "benefit humanity" but from a personal fulfillment he got from his work and from seeing it put to practical use. 89. The same is true of scientists generally. With possible rare exceptions, their motive is neither curiosity nor a desire to benefit humanity but the need to go through the power process: to have a goal (a scientific problem to solve), to make an effort (research) and to attain the goal (solution of the problem.) Science is a surrogate activity because scientists work mainly for the fulfillment they get out of the work itself. 90. Of course, it's not that simple. Other motives do play a role for many scientists. Money and status for example. Some scientists may be persons of the type who have an insatiable drive for status (see paragraph 79) and this may provide much of the motivation for their work. No doubt the majority of scientists, like the majority of the general population, are more or less susceptible to advertising and marketing techniques and need money to satisfy their craving for goods and services. Thus science is not a PURE surrogate activity. But it is in large part a surrogate activity. 91. Also, science and technology constitute a mass power movement, and many scientists gratify their need for power through identification with this mass movement (see paragraph 83). 92. Thus science marches on blindly, without regard to the real welfare of the human race or to any other standard, obedient only to the psychological needs of the scientists and of the government officials and corporation executives who provide the funds for research. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176815094-NHUK29JHKUEU46VT8AO7/28_javier-arce.jpg Cindy Rucker Gallery. New York. 03.08.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. THE NATURE OF FREEDOM 93. We are going to argue that industrial-technological society cannot be reformed in such a way as to prevent it from progressively narrowing the sphere of human freedom. But because "freedom" is a word that can be interpreted in many ways, we must first make clear what kind of freedom we are concerned with. 94. By "freedom" we mean the opportunity to go through the power process, with real goals not the artificial goals of surrogate activities, and without interference, manipulation or supervision from anyone, especially from any large organization. Freedom means being in control (either as an individual or as a member of a SMALL group) of the life-and-death issues of one's existence; food, clothing, shelter and defense against whatever threats there may be in one's environment. Freedom means having power; not the power to control other people but the power to control the circumstances of one's own life. One does not have freedom if anyone else (especially a large organization) has power over one, no matter how benevolently, tolerantly and permissively that power may be exercised. It is important not to confuse freedom with mere permissiveness (see paragraph 72). 95. It is said that we live in a free society because we have a certain number of constitutionally guaranteed rights. But these are not as important as they seem. The degree of personal freedom that exists in a society is determined more by the economic and technological structure of the society than by its laws or its form of government. [16] Most of the Indian nations of New England were monarchies, and many of the cities of the Italian Renaissance were controlled by dictators. But in reading about these societies one gets the impression that they allowed far more personal freedom than out society does. In part this was because they lacked efficient mechanisms for enforcing the ruler's will: There were no modern, well-organized police forces, no rapid long-distance communications, no surveillance cameras, no dossiers of information about the lives of average citizens. Hence it was relatively easy to evade control. 96. As for our constitutional rights, consider for example that of freedom of the press. We certainly don't mean to knock that right: it is very important tool for limiting concentration of political power and for keeping those who do have political power in line by publicly exposing any misbehavior on their part. But freedom of the press is of very little use to the average citizen as an individual. The mass media are mostly under the control of large organizations that are integrated into the system. Anyone who has a little money can have something printed, or can distribute it on the Internet or in some such way, but what he has to say will be swamped by the vast volume of material put out by the media, hence it will have no practical effect. To make an impression on society with words is therefore almost impossible for most individuals and small groups. Take us (FC) for example. If we had never done anything violent and had submitted the present writings to a publisher, they probably would not have been accepted. If they had been accepted and published, they probably would not have attracted many readers, because it's more fun to watch the entertainment put out by the media than to read a sober essay. Even if these writings had had many readers, most of these readers would soon have forgotten what they had read as their minds were flooded by the mass of material to which the media expose them. In order to get our message before the public with some chance of making a lasting impression, we've had to kill people. 97. Constitutional rights are useful up to a point, but they do not serve to guarantee much more than what could be called the bourgeois conception of freedom. According to the bourgeois conception, a "free" man is essentially an element of a social machine and has only a certain set of prescribed and delimited freedoms; freedoms that are designed to serve the needs of the social machine more than those of the individual. Thus the bourgeois's "free" man has economic freedom because that promotes growth and progress; he has freedom of the press because public criticism restrains misbehavior by political leaders; he has a rights to a fair trial because imprisonment at the whim of the powerful would be bad for the system. This was clearly the attitude of Simon Bolivar. To him, people deserved liberty only if they used it to promote progress (progress as conceived by the bourgeois). Other bourgeois thinkers have taken a similar view of freedom as a mere means to collective ends. Chester C. Tan, "Chinese Political Thought in the Twentieth Century," page 202, explains the philosophy of the Kuomintang leader Hu Han-min: "An individual is granted rights because he is a member of society and his community life requires such rights. By community Hu meant the whole society of the nation." And on page 259 Tan states that according to Carsum Chang (Chang Chun-mai, head of the State Socialist Party in China) freedom had to be used in the interest of the state and of the people as a whole. But what kind of freedom does one have if one can use it only as someone else prescribes? FC's conception of freedom is not that of Bolivar, Hu, Chang or other bourgeois theorists. The trouble with such theorists is that they have made the development and application of social theories their surrogate activity. Consequently the theories are designed to serve the needs of the theorists more than the needs of any people who may be unlucky enough to live in a society on which the theories are imposed. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1426176838212-4A273VYIHRZM6IR6RSBW/29_javier-arce.jpg Cindy Rucker Gallery. New York. 03.11.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 98. One more point to be made in this section: It should not be assumed that a person has enough freedom just because he SAYS he has enough. Freedom is restricted in part by psychological control of which people are unconscious, and moreover many people's ideas of what constitutes freedom are governed more by social convention than by their real needs. For example, it's likely that many leftists of the oversocialized type would say that most people, including themselves are socialized too little rather than too much, yet the oversocialized leftist pays a heavy psychological price for his high level of socialization. SOME PRINCIPLES OF HISTORY 99. Think of history as being the sum of two components: an erratic component that consists of unpredictable events that follow no discernible pattern, and a regular component that consists of long-term historical trends. Here we are concerned with the long-term trends. 100. FIRST PRINCIPLE. If a SMALL change is made that affects a long-term historical trend, then the effect of that change will almost always be transitory - the trend will soon revert to its original state. (Example: A reform movement designed to clean up political corruption in a society rarely has more than a short-term effect; sooner or later the reformers relax and corruption creeps back in. The level of political corruption in a given society tends to remain constant, or to change only slowly with the evolution of the society. Normally, a political cleanup will be permanent only if accompanied by widespread social changes; a SMALL change in the society won't be enough.) If a small change in a long-term historical trend appears to be permanent, it is only because the change acts in the direction in which the trend is already moving, so that the trend is not altered but only pushed a step ahead. 101. The first principle is almost a tautology. If a trend were not stable with respect to small changes, it would wander at random rather than following a definite direction; in other words it would not be a long-term trend at all. 102. SECOND PRINCIPLE. If a change is made that is sufficiently large to alter permanently a long-term historical trend, than it will alter the society as a whole. In other words, a society is a system in which all parts are interrelated, and you can't permanently change any important part without change all the other parts as well. 103. THIRD PRINCIPLE. If a change is made that is large enough to alter permanently a long-term trend, then the consequences for the society as a whole cannot be predicted in advance. (Unless various other societies have passed through the same change and have all experienced the same consequences, in which case one can predict on empirical grounds that another society that passes through the same change will be like to experience similar consequences.) 104. FOURTH PRINCIPLE. A new kind of society cannot be designed on paper. That is, you cannot plan out a new form of society in advance, then set it up and expect it to function as it was designed to. 105. The third and fourth principles result from the complexity of human societies. A change in human behavior will affect the economy of a society and its physical environment; the economy will affect the environment and vice versa, and the changes in the economy and the environment will affect human behavior in complex, unpredictable ways; and so forth. The network of causes and effects is far too complex to be untangled and understood. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305893815-VU32GKYVP5CU6P47VHOU/javier-arce-03.12.15.jpg Cindy Rucker Gallery. New York. 03.12.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 106. FIFTH PRINCIPLE. People do not consciously and rationally choose the form of their society. Societies develop through processes of social evolution that are not under rational human control. 107. The fifth principle is a consequence of the other four. 108. To illustrate: By the first principle, generally speaking an attempt at social reform either acts in the direction in which the society is developing anyway (so that it merely accelerates a change that would have occurred in any case) or else it only has a transitory effect, so that the society soon slips back into its old groove. To make a lasting change in the direction of development of any important aspect of a society, reform is insufficient and revolution is required. (A revolution does not necessarily involve an armed uprising or the overthrow of a government.) By the second principle, a revolution never changes only one aspect of a society; and by the third principle changes occur that were never expected or desired by the revolutionaries. By the fourth principle, when revolutionaries or utopians set up a new kind of society, it never works out as planned. 109. The American Revolution does not provide a counterexample. The American "Revolution" was not a revolution in our sense of the word, but a war of independence followed by a rather far-reaching political reform. The Founding Fathers did not change the direction of development of American society, nor did they aspire to do so. They only freed the development of American society from the retarding effect of British rule. Their political reform did not change any basic trend, but only pushed American political culture along its natural direction of development. British society, of which American society was an off-shoot, had been moving for a long time in the direction of representative democracy. And prior to the War of Independence the Americans were already practicing a significant degree of representative democracy in the colonial assemblies. The political system established by the Constitution was modeled on the British system and on the colonial assemblies. With major alteration, to be sure - there is no doubt that the Founding Fathers took a very important step. But it was a step along the road the English-speaking world was already traveling. The proof is that Britain and all of its colonies that were populated predominantly by people of British descent ended up with systems of representative democracy essentially similar to that of the United States. If the Founding Fathers had lost their nerve and declined to sign the Declaration of Independence, our way of life today would not have been significantly different. Maybe we would have had somewhat closer ties to Britain, and would have had a Parliament and Prime Minister instead of a Congress and President. No big deal. Thus the American Revolution provides not a counterexample to our principles but a good illustration of them. 110. Still, one has to use common sense in applying the principles. They are expressed in imprecise language that allows latitude for interpretation, and exceptions to them can be found. So we present these principles not as inviolable laws but as rules of thumb, or guides to thinking, that may provide a partial antidote to naive ideas about the future of society. The principles should be borne constantly in mind, and whenever one reaches a conclusion that conflicts with them one should carefully reexamine one's thinking and retain the conclusion only if one has good, solid reasons for doing so. INDUSTRIAL-TECHNOLOGICAL SOCIETY CANNOT BE REFORMED 111. The foregoing principles help to show how hopelessly difficult it would be to reform the industrial system in such a way as to prevent it from progressively narrowing our sphere of freedom. There has been a consistent tendency, going back at least to the Industrial Revolution for technology to strengthen the system at a high cost in individual freedom and local autonomy. Hence any change designed to protect freedom from technology would be contrary to a fundamental trend in the development of our society. Consequently, such a change either would be a transitory one -- soon swamped by the tide of history -- or, if large enough to be permanent would alter the nature of our whole society. This by the first and second principles. Moreover, since society would be altered in a way that could not be predicted in advance (third principle) there would be great risk. Changes large enough to make a lasting difference in favor of freedom would not be initiated because it would realized that they would gravely disrupt the system. So any attempts at reform would be too timid to be effective. Even if changes large enough to make a lasting difference were initiated, they would be retracted when their disruptive effects became apparent. Thus, permanent changes in favor of freedom could be brought about only by persons prepared to accept radical, dangerous and unpredictable alteration of the entire system. In other words, by revolutionaries, not reformers. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305904152-IUR9C897MKV8FN2G54H7/javier-arce-03.13.15.jpg Cindy Rucker Gallery. New York. 03.13.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 112. People anxious to rescue freedom without sacrificing the supposed benefits of technology will suggest naive schemes for some new form of society that would reconcile freedom with technology. Apart from the fact that people who make suggestions seldom propose any practical means by which the new form of society could be set up in the first place, it follows from the fourth principle that even if the new form of society could be once established, it either would collapse or would give results very different from those expected. 113. So even on very general grounds it seems highly improbably that any way of changing society could be found that would reconcile freedom with modern technology. In the next few sections we will give more specific reasons for concluding that freedom and technological progress are incompatible. RESTRICTION OF FREEDOM IS UNAVOIDABLE IN INDUSTRIAL SOCIETY 114. As explained in paragraph 65-67, 70-73, modern man is strapped down by a network of rules and regulations, and his fate depends on the actions of persons remote from him whose decisions he cannot influence. This is not accidental or a result of the arbitrariness of arrogant bureaucrats. It is necessary and inevitable in any technologically advanced society. The system HAS TO regulate human behavior closely in order to function. At work, people have to do what they are told to do, otherwise production would be thrown into chaos. Bureaucracies HAVE TO be run according to rigid rules. To allow any substantial personal discretion to lower-level bureaucrats would disrupt the system and lead to charges of unfairness due to differences in the way individual bureaucrats exercised their discretion. It is true that some restrictions on our freedom could be eliminated, but GENERALLY SPEAKING the regulation of our lives by large organizations is necessary for the functioning of industrial-technological society. The result is a sense of powerlessness on the part of the average person. It may be, however, that formal regulations will tend increasingly to be replaced by psychological tools that make us want to do what the system requires of us. (Propaganda [14], educational techniques, "mental health" programs, etc.) 115. The system HAS TO force people to behave in ways that are increasingly remote from the natural pattern of human behavior. For example, the system needs scientists, mathematicians and engineers. It can't function without them. So heavy pressure is put on children to excel in these fields. It isn't natural for an adolescent human being to spend the bulk of his time sitting at a desk absorbed in study. A normal adolescent wants to spend his time in active contact with the real world. Among primitive peoples the things that children are trained to do are in natural harmony with natural human impulses. Among the American Indians, for example, boys were trained in active outdoor pursuits -- just the sort of things that boys like. But in our society children are pushed into studying technical subjects, which most do grudgingly. 116. Because of the constant pressure that the system exerts to modify human behavior, there is a gradual increase in the number of people who cannot or will not adjust to society's requirements: welfare leeches, youth-gang members, cultists, anti-government rebels, radical environmentalist saboteurs, dropouts and resisters of various kinds. 117. In any technologically advanced society the individual's fate MUST depend on decisions that he personally cannot influence to any great extent. A technological society cannot be broken down into small, autonomous communities, because production depends on the cooperation of very large numbers of people and machines. Such a society MUST be highly organized and decisions HAVE TO be made that affect very large numbers of people. When a decision affects, say, a million people, then each of the affected individuals has, on the average, only a one-millionth share in making the decision. What usually happens in practice is that decisions are made by public officials or corporation executives, or by technical specialists, but even when the public votes on a decision the number of voters ordinarily is too large for the vote of any one individual to be significant. [17] Thus most individuals are unable to influence measurably the major decisions that affect their lives. Their is no conceivable way to remedy this in a technologically advanced society. The system tries to "solve" this problem by using propaganda to make people WANT the decisions that have been made for them, but even if this "solution" were completely successful in making people feel better, it would be demeaning. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305875261-T1GP0ZRCKK3N1UP3727X/javier-arce+03.14.15.jpg Cindy Rucker Gallery. New York. 03.14.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 118 Conservatives and some others advocate more "local autonomy." Local communities once did have autonomy, but such autonomy becomes less and less possible as local communities become more enmeshed with and dependent on large-scale systems like public utilities, computer networks, highway systems, the mass communications media, the modern health care system. Also operating against autonomy is the fact that technology applied in one location often affects people at other locations far away. Thus pesticide or chemical use near a creek may contaminate the water supply hundreds of miles downstream, and the greenhouse effect affects the whole world. 119. The system does not and cannot exist to satisfy human needs. Instead, it is human behavior that has to be modified to fit the needs of the system. This has nothing to do with the political or social ideology that may pretend to guide the technological system. It is the fault of technology, because the system is guided not by ideology but by technical necessity. [18] Of course the system does satisfy many human needs, but generally speaking it does this only to the extent that it is to the advantage of the system to do it. It is the needs of the system that are paramount, not those of the human being. For example, the system provides people with food because the system couldn't function if everyone starved; it attends to people's psychological needs whenever it can CONVENIENTLY do so, because it couldn't function if too many people became depressed or rebellious. But the system, for good, solid, practical reasons, must exert constant pressure on people to mold their behavior to the needs of the system. Too much waste accumulating? The government, the media, the educational system, environmentalists, everyone inundates us with a mass of propaganda about recycling. Need more technical personnel? A chorus of voices exhorts kids to study science. No one stops to ask whether it is inhumane to force adolescents to spend the bulk of their time studying subjects most of them hate. When skilled workers are put out of a job by technical advances and have to undergo "retraining," no one asks whether it is humiliating for them to be pushed around in this way. It is simply taken for granted that everyone must bow to technical necessity and for good reason: If human needs were put before technical necessity there would be economic problems, unemployment, shortages or worse. The concept of "mental health" in our society is defined largely by the extent to which an individual behaves in accord with the needs of the system and does so without showing signs of stress. 120. Efforts to make room for a sense of purpose and for autonomy within the system are no better than a joke. For example, one company, instead of having each of its employees assemble only one section of a catalogue, had each assemble a whole catalogue, and this was supposed to give them a sense of purpose and achievement. Some companies have tried to give their employees more autonomy in their work, but for practical reasons this usually can be done only to a very limited extent, and in any case employees are never given autonomy as to ultimate goals -- their "autonomous" efforts can never be directed toward goals that they select personally, but only toward their employer's goals, such as the survival and growth of the company. Any company would soon go out of business if it permitted its employees to act otherwise. Similarly, in any enterprise within a socialist system, workers must direct their efforts toward the goals of the enterprise, otherwise the enterprise will not serve its purpose as part of the system. Once again, for purely technical reasons it is not possible for most individuals or small groups to have much autonomy in industrial society. Even the small-business owner commonly has only limited autonomy. Apart from the necessity of government regulation, he is restricted by the fact that he must fit into the economic system and conform to its requirements. For instance, when someone develops a new technology, the small-business person often has to use that technology whether he wants to or not, in order to remain competitive. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305926272-0O7IWF8IKHJE2G35ZBZ5/javier-arce-03.15.15.jpg Cindy Rucker Gallery. New York. 03.15.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. THE 'BAD' PARTS OF TECHNOLOGY CANNOT BE SEPARATED FROM THE 'GOOD' PARTS 121. A further reason why industrial society cannot be reformed in favor of freedom is that modern technology is a unified system in which all parts are dependent on one another. You can't get rid of the "bad" parts of technology and retain only the "good" parts. Take modern medicine, for example. Progress in medical science depends on progress in chemistry, physics, biology, computer science and other fields. Advanced medical treatments require expensive, high-tech equipment that can be made available only by a technologically progressive, economically rich society. Clearly you can't have much progress in medicine without the whole technological system and everything that goes with it. 122. Even if medical progress could be maintained without the rest of the technological system, it would by itself bring certain evils. Suppose for example that a cure for diabetes is discovered. People with a genetic tendency to diabetes will then be able to survive and reproduce as well as anyone else. Natural selection against genes for diabetes will cease and such genes will spread throughout the population. (This may be occurring to some extent already, since diabetes, while not curable, can be controlled through the use of insulin.) The same thing will happen with many other diseases susceptibility to which is affected by genetic degradation of the population. The only solution will be some sort of eugenics program or extensive genetic engineering of human beings, so that man in the future will no longer be a creation of nature, or of chance, or of God (depending on your religious or philosophical opinions), but a manufactured product. 123. If you think that big government interferes in your life too much NOW, just wait till the government starts regulating the genetic constitution of your children. Such regulation will inevitably follow the introduction of genetic engineering of human beings, because the consequences of unregulated genetic engineering would be disastrous. [19] 124. The usual response to such concerns is to talk about "medical ethics." But a code of ethics would not serve to protect freedom in the face of medical progress; it would only make matters worse. A code of ethics applicable to genetic engineering would be in effect a means of regulating the genetic constitution of human beings. Somebody (probably the upper-middle class, mostly) would decide that such and such applications of genetic engineering were "ethical" and others were not, so that in effect they would be imposing their own values on the genetic constitution of the population at large. Even if a code of ethics were chosen on a completely democratic basis, the majority would be imposing their own values on any minorities who might have a different idea of what constituted an "ethical" use of genetic engineering. The only code of ethics that would truly protect freedom would be one that prohibited ANY genetic engineering of human beings, and you can be sure that no such code will ever be applied in a technological society. No code that reduced genetic engineering to a minor role could stand up for long, because the temptation presented by the immense power of biotechnology would be irresistible, especially since to the majority of people many of its applications will seem obviously and unequivocally good (eliminating physical and mental diseases, giving people the abilities they need to get along in today's world). Inevitably, genetic engineering will be used extensively, but only in ways consistent with the needs of the industrial-technological system. [20] TECHNOLOGY IS A MORE POWERFUL SOCIAL FORCE THAN THE ASPIRATION FOR FREEDOM 125. It is not possible to make a LASTING compromise between technology and freedom, because technology is by far the more powerful social force and continually encroaches on freedom through REPEATED compromises. Imagine the case of two neighbors, each of whom at the outset owns the same amount of land, but one of whom is more powerful than the other. The powerful one demands a piece of the other's land. The weak one refuses. The powerful one says, "OK, let's compromise. Give me half of what I asked." The weak one has little choice but to give in. Some time later the powerful neighbor demands another piece of land, again there is a compromise, and so forth. By forcing a long series of compromises on the weaker man, the powerful one eventually gets all of his land. So it goes in the conflict between technology and freedom. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305936215-Z1FHPN2FCFQ6ZD7RSCH4/javier-arce-03.18.15.jpg Cindy Rucker Gallery. New York. 03.18.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 126. Let us explain why technology is a more powerful social force than the aspiration for freedom. 127. A technological advance that appears not to threaten freedom often turns out to threaten freedom often turns out to threaten it very seriously later on. For example, consider motorized transport. A walking man formerly could go where he pleased, go at his own pace without observing any traffic regulations, and was independent of technological support-systems. When motor vehicles were introduced they appeared to increase man's freedom. They took no freedom away from the walking man, no one had to have an automobile if he didn't want one, and anyone who did choose to buy an automobile could travel much faster than the walking man. But the introduction of motorized transport soon changed society in such a way as to restrict greatly man's freedom of locomotion. When automobiles became numerous, it became necessary to regulate their use extensively. In a car, especially in densely populated areas, one cannot just go where one likes at one's own pace one's movement is governed by the flow of traffic and by various traffic laws. One is tied down by various obligations: license requirements, driver test, renewing registration, insurance, maintenance required for safety, monthly payments on purchase price. Moreover, the use of motorized transport is no longer optional. Since the introduction of motorized transport the arrangement of our cities has changed in such a way that the majority of people no longer live within walking distance of their place of employment, shopping areas and recreational opportunities, so that they HAVE TO depend on the automobile for transportation. Or else they must use public transportation, in which case they have even less control over their own movement than when driving a car. Even the walker's freedom is now greatly restricted. In the city he continually has to stop and wait for traffic lights that are designed mainly to serve auto traffic. In the country, motor traffic makes it dangerous and unpleasant to walk along the highway. (Note the important point we have illustrated with the case of motorized transport: When a new item of technology is introduced as an option that an individual can accept or not as he chooses, it does not necessarily REMAIN optional. In many cases the new technology changes society in such a way that people eventually find themselves FORCED to use it.) 128. While technological progress AS A WHOLE continually narrows our sphere of freedom, each new technical advance CONSIDERED BY ITSELF appears to be desirable. Electricity, indoor plumbing, rapid long-distance communications . . . how could one argue against any of these things, or against any other of the innumerable technical advances that have made modern society? It would have been absurd to resist the introduction of the telephone, for example. It offered many advantages and no disadvantages. Yet as we explained in paragraphs 59-76, all these technical advances taken together have created world in which the average man's fate is no longer in his own hands or in the hands of his neighbors and friends, but in those of politicians, corporation executives and remote, anonymous technicians and bureaucrats whom he as an individual has no power to influence. [21] The same process will continue in the future. Take genetic engineering, for example. Few people will resist the introduction of a genetic technique that eliminates a hereditary disease It does no apparent harm and prevents much suffering. Yet a large number of genetic improvements taken together will make the human being into an engineered product rather than a free creation of chance (or of God, or whatever, depending on your religious beliefs). 129 Another reason why technology is such a powerful social force is that, within the context of a given society, technological progress marches in only one direction; it can never be reversed. Once a technical innovation has been introduced, people usually become dependent on it, unless it is replaced by some still more advanced innovation. Not only do people become dependent as individuals on a new item of technology, but, even more, the system as a whole becomes dependent on it. (Imagine what would happen to the system today if computers, for example, were eliminated.) Thus the system can move in only one direction, toward greater technologization. Technology repeatedly forces freedom to take a step back -- short of the overthrow of the whole technological system. 130. Technology advances with great rapidity and threatens freedom at many different points at the same time (crowding, rules and regulations, increasing dependence of individuals on large organizations, propaganda and other psychological techniques, genetic engineering, invasion of privacy through surveillance devices and computers, etc.) To hold back any ONE of the threats to freedom would require a long different social struggle. Those who want to protect freedom are overwhelmed by the sheer number of new attacks and the rapidity with which they develop, hence they become pathetic and no longer resist. To fight each of the threats separately would be futile. Success can be hoped for only by fighting the technological system as a whole; but that is revolution not reform. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305943141-XMQ9UND8A0N3AXFS94V1/javier-arce-03.19.15.jpg Cindy Rucker Gallery. New York. 03.19.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 131. Technicians (we use this term in its broad sense to describe all those who perform a specialized task that requires training) tend to be so involved in their work (their surrogate activity) that when a conflict arises between their technical work and freedom, they almost always decide in favor of their technical work. This is obvious in the case of scientists, but it also appears elsewhere: Educators, humanitarian groups, conservation organizations do not hesitate to use propaganda or other psychological techniques to help them achieve their laudable ends. Corporations and government agencies, when they find it useful, do not hesitate to collect information about individuals without regard to their privacy. Law enforcement agencies are frequently inconvenienced by the constitutional rights of suspects and often of completely innocent persons, and they do whatever they can do legally (or sometimes illegally) to restrict or circumvent those rights. Most of these educators, government officials and law officers believe in freedom, privacy and constitutional rights, but when these conflict with their work, they usually feel that their work is more important. 132. It is well known that people generally work better and more persistently when striving for a reward than when attempting to avoid a punishment or negative outcome. Scientists and other technicians are motivated mainly by the rewards they get through their work. But those who oppose technilogiccal invasions of freedom are working to avoid a negative outcome, consequently there are a few who work persistently and well at this discouraging task. If reformers ever achieved a signal victory that seemed to set up a solid barrier against further erosion of freedom through technological progress, most would tend to relax and turn their attention to more agreeable pursuits. But the scientists would remain busy in their laboratories, and technology as it progresses would find ways, in spite of any barriers, to exert more and more control over individuals and make them always more dependent on the system. 133. No social arrangements, whether laws, institutions, customs or ethical codes, can provide permanent protection against technology. History shows that all social arrangements are transitory; they all change or break down eventually. But technological advances are permanent within the context of a given civilization. Suppose for example that it were possible to arrive at some social arrangements that would prevent genetic engineering from being applied to human beings, or prevent it from being applied in such a ways as to threaten freedom and dignity. Still, the technology would remain waiting. Sooner or later the social arrangement would break down. Probably sooner, given that pace of change in our society. Then genetic engineering would begin to invade our sphere of freedom, and this invasion would be irreversible (short of a breakdown of technological civilization itself). Any illusions about achieving anything permanent through social arrangements should be dispelled by what is currently happening with environmental legislation. A few years ago it seemed that there were secure legal barriers preventing at least SOME of the worst forms of environmental degradation. A change in the political wind, and those barriers begin to crumble. 134. For all of the foregoing reasons, technology is a more powerful social force than the aspiration for freedom. But this statement requires an important qualification. It appears that during the next several decades the industrial-technological system will be undergoing severe stresses due to economic and environmental problems, and especially due to problems of human behavior (alienation, rebellion, hostility, a variety of social and psychological difficulties). We hope that the stresses through which the system is likely to pass will cause it to break down, or at least weaken it sufficiently so that a revolution occurs and is successful, then at that particular moment the aspiration for freedom will have proved more powerful than technology. 135. In paragraph 125 we used an analogy of a weak neighbor who is left destitute by a strong neighbor who takes all his land by forcing on him a series of compromises. But suppose now that the strong neighbor gets sick, so that he is unable to defend himself. The weak neighbor can force the strong one to give him his land back, or he can kill him. If he lets the strong man survive and only forces him to give his land back, he is a fool, because when the strong man gets well he will again take all the land for himself. The only sensible alternative for the weaker man is to kill the strong one while he has the chance. In the same way, while the industrial system is sick we must destroy it. If we compromise with it and let it recover from its sickness, it will eventually wipe out all of our freedom. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305952170-QPLN8XD9N0N0P3LI62I3/javier-arce-03.20.15.jpg Cindy Rucker Gallery. New York. 03.20.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. SIMPLER SOCIAL PROBLEMS HAVE PROVED INTRACTABLE 136. If anyone still imagines that it would be possible to reform the system in such a way as to protect freedom from technology, let him consider how clumsily and for the most part unsuccessfully our society has dealt with other social problems that are far more simple and straightforward. Among other things, the system has failed to stop environmental degradation, political corruption, drug trafficking or domestic abuse. 137. Take our environmental problems, for example. Here the conflict of values is straightforward: economic expedience now versus saving some of our natural resources for our grandchildren [22] But on this subject we get only a lot of blather and obfuscation from the people who have power, and nothing like a clear, consistent line of action, and we keep on piling up environmental problems that our grandchildren will have to live with. Attempts to resolve the environmental issue consist of struggles and compromises between different factions, some of which are ascendant at one moment, others at another moment. The line of struggle changes with the shifting currents of public opinion. This is not a rational process, or is it one that is likely to lead to a timely and successful solution to the problem. Major social problems, if they get "solved" at all, are rarely or never solved through any rational, comprehensive plan. They just work themselves out through a process in which various competing groups pursing their own usually short-term) self-interest [23] arrive (mainly by luck) at some more or less stable modus vivendi. In fact, the principles we formulated in paragraphs 100-106 make it seem doubtful that rational, long-term social planning can EVER be successful. 138. Thus it is clear that the human race has at best a very limited capacity for solving even relatively straightforward social problems. How then is it going to solve the far more difficult and subtle problem of reconciling freedom with technology? Technology presents clear-cut material advantages, whereas freedom is an abstraction that means different things to different people, and its loss is easily obscured by propaganda and fancy talk. 139. And note this important difference: It is conceivable that our environmental problems (for example) may some day be settled through a rational, comprehensive plan, but if this happens it will be only because it is in the long-term interest of the system to solve these problems. But it is NOT in the interest of the system to preserve freedom or small-group autonomy. On the contrary, it is in the interest of the system to bring human behavior under control to the greatest possible extent. Thus, while practical considerations may eventually force the system to take a rational, prudent approach to environmental problems, equally practical considerations will force the system to regulate human behavior ever more closely (preferably by indirect means that will disguise the encroachment on freedom.) This isn't just our opinion. Eminent social scientists (e.g. James Q. Wilson) have stressed the importance of "socializing" people more effectively. REVOLUTION IS EASIER THAN REFORM 140. We hope we have convinced the reader that the system cannot be reformed in a such a way as to reconcile freedom with technology. The only way out is to dispense with the industrial-technological system altogether. This implies revolution, not necessarily an armed uprising, but certainly a radical and fundamental change in the nature of society. 141. People tend to assume that because a revolution involves a much greater change than reform does, it is more difficult to bring about than reform is. Actually, under certain circumstances revolution is much easier than reform. The reason is that a revolutionary movement can inspire an intensity of commitment that a reform movement cannot inspire. A reform movement merely offers to solve a particular social problem A revolutionary movement offers to solve all problems at one stroke and create a whole new world; it provides the kind of ideal for which people will take great risks and make great sacrifices. For this reasons it would be much easier to overthrow the whole technological system than to put effective, permanent restraints on the development of application of any one segment of technology, such as genetic engineering, but under suitable conditions large numbers of people may devote themselves passionately to a revolution against the industrial-technological system. As we noted in paragraph 132, reformers seeking to limite certain aspects of technology would be working to avoid a negative outcome. But revolutionaries work to gain a powerful reward -- fulfillment of their revolutionary vision -- and therefore work harder and more persistently than reformers do. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430307948032-6OR4U9FZ4G7GCJ4JF9BD/javier-arce-03.21.15.jpg Cindy Rucker Gallery. New York. 03.21.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 142. Reform is always restrainde by the fear of painful consequences if changes go too far. But once a revolutionary fever has taken hold of a society, people are willing to undergo unlimited hardships for the sake of their revolution. This was clearly shown in the French and Russian Revolutions. It may be that in such cases only a minority of the population is really committed to the revolution, but this minority is sufficiently large and active so that it becomes the dominant force in society. We will have more to say about revolution in paragraphs 180-205. CONTROL OF HUMAN BEHAVIOR 143. Since the beginning of civilization, organized societies have had to put pressures on human beings of the sake of the functioning of the social organism. The kinds of pressures vary greatly from one society to another. Some of the pressures are physical (poor diet, excessive labor, environmental pollution), some are psychological (noise, crowding, forcing humans behavior into the mold that society requires). In the past, human nature has been approximately constant, or at any rate has varied only within certain bounds. Consequently, societies have been able to push people only up to certain limits. When the limit of human endurance has been passed, things start going rong: rebellion, or crime, or corruption, or evasion of work, or depression and other mental problems, or an elevated death rate, or a declining birth rate or something else, so that either the society breaks down, or its functioning becomes too inefficient and it is (quickly or gradually, through conquest, attrition or evolution) replaces by some more efficient form of society. [25] 144. Thus human nature has in the past put certain limits on the development of societies. People coud be pushed only so far and no farther. But today this may be changing, because modern technology is developing way of modifying human beings. 145. Imagine a society that subjects people to conditions that amke them terribley unhappy, then gives them the drugs to take away their unhappiness. Science fiction? It is already happening to some extent in our own society. It is well known that the rate of clinical depression had been greatly increasing in recent decades. We believe that this is due to disruption fo the power process, as explained in paragraphs 59-76. But even if we are wrong, the increasing rate of depression is certainly the result of SOME conditions that exist in today's society. Instead of removing the conditions that make people depressed, modern society gives them antidepressant drugs. In effect, antidepressants area a means of modifying an individual's internal state in such a way as to enable him to toelrate social conditions that he would otherwise find intolerable. (Yes, we know that depression is often of purely genetic origin. We are referring here to those cases in which environment plays the predominant role.) 146. Drugs that affect the mind are only one example of the methods of controlling human behavior that modern society is developing. Let us look at some of the other methods. 147. To start with, there are the techniques of surveillance. Hidden video cameras are now used in most stores and in many other places, computers are used to collect and process vast amounts of information about individuals. Information so obtained greatly increases the effectiveness of physical coercion (i.e., law enforcement).[26] Then there are the methods of propaganda, for which the mass communication media provide effective vehicles. Efficient techniques have been developed for winning elections, selling products, influencing public opinion. The entertainment industry serves as an important psychological tool of the system, possibly even when it is dishing out large amounts of sex and violence. Entertainment provides modern man with an essential means of escape. While absorbed in television, videos, etc., he can forget stress, anxiety, frustration, dissatisfaction. Many primitive peoples, when they don't have work to do, are quite content to sit for hours at a time doing nothing at all, because they are at peace with themselves and their world. But most modern people must be contantly occupied or entertained, otherwise the get "bored," i.e., they get fidgety, uneasy, irritable. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305974595-NM991GPEYIIM17SZE08T/javier-arce-03.22.15.jpg Cindy Rucker Gallery. New York. 03.22.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 148. Other techniques strike deeper that the foregoing. Education is no longer a simple affair of paddling a kid's behind when he doesn't know his lessons and patting him on the head when he does know them. It is becoming a scientific technique for controlling the child's development. Sylvan Learning Centers, for example, have had great success in motivating children to study, and psychological techniques are also used with more or less success in many conventional schools. "Parenting" techniques that are taught to parents are designed to make children accept fundamental values of the system and behave in ways that the system finds desirable. "Mental health" programs, "intervention" techniques, psychotherapy and so forth are ostensibly designed to benefit individuals, but in practice they usually serve as methods for inducing individuals to think and behave as the system requires. (There is no contradiction here; an individual whose attitudes or behavior bring him into conflict with the system is up against a force that is too powerful for him to conquer or escape from, hence he is likely to suffer from stress, frustration, defeat. His path will be much easier if he thinks and behaves as the system requires. In that sense the system is acting for the benefit of the individual when it brainwashes him into conformity.) Child abuse in its gross and obvious forms is disapproved in most if not all cultures. Tormenting a child for a trivial reason or no reason at all is something that appalls almost everyone. But many psychologists interpret the concept of abuse much more broadly. Is spanking, when used as part of a rational and consistent system of discipline, a form of abuse? The question will ultimately be decided by whether or not spanking tends to produce behavior that makes a person fit in well with the existing system of society. In practice, the word "abuse" tends to be interpreted to include any method of child-rearing that produces behavior inconvenient for the system. Thus, when they go beyond the prevention of obvious, senseless cruelty, programs for preventing "child abuse" are directed toward the control of human behavior of the system. 149. Presumably, research will continue to increas the effectiveness of psychological techniques for controlling human behavior. But we think it is unlikely that psychological techniques alone will be sufficient to adjust human beings to the kind of society that technology is creating. Biological methods probably will have to be used. We have already mentiond the use of drugs in this connection. Neurology may provide other avenues of modifying the human mind. Genetic engineering of human beings is already beginning to occur in the form of "gene therapy," and there is no reason to assume the such methods will not eventually be used to modify those aspects of the body that affect mental funtioning. 150. As we mentioned in paragraph 134, industrial society seems likely to be entering a period of severe stress, due in part to problems of human behavior and in part to economic and environmental problems. And a considerable proportion of the system's economic and environmental problems result from the way human beings behave. Alienation, low self-esteem, depression, hostility, rebellion; children who won't study, youth gangs, illegal drug use, rape, child abuse , other crimes, unsafe sex, teen pregnancy, population growth, political corruption, race hatred, ethnic rivalry, bitter ideological conflict (i.e., pro-choice vs. pro-life), political extremism, terrorism, sabotage, anti-government groups, hate groups. All these threaten the very survival of the system. The system will be FORCED to use every practical means of controlling human behavior. 151. The social disruption that we see today is certainly not the result of mere chance. It can only be a result fo the conditions of life that the system imposes on people. (We have argued that the most important of these conditions is disruption of the power process.) If the systems succeeds in imposing sufficient control over human behavior to assure itw own survival, a new watershed in human history will have passed. Whereas formerly the limits of human endurance have imposed limits on the development of societies (as we explained in paragraphs 143, 144), industrial-technological society will be able to pass those limits by modifying human beings, whether by psychological methods or biological methods or both. In the future, social systems will not be adjusted to suit the needs of human beings. Instead, human being will be adjusted to suit the needs of the system. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305985225-B8W2D6U0GRHAS6UUO478/javier-arce-03.25.15.jpg Cindy Rucker Gallery. New York. 03.25.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. [27] 152. Generally speaking, technological control over human behavior will probably not be introduced with a totalitarian intention or even through a conscious desire to restrict human freedom. [28] Each new step in the assertion of control over the human mind will be taken as a rational response to a problem that faces society, such as curing alcoholism, reducing the crime rate or inducing young people to study science and engineering. In many cases, there will be humanitarian justification. For example, when a psychiatrist prescribes an anti-depressant for a depressed patient, he is clearly doing that individual a favor. It would be inhumane to withhold the drug from someone who needs it. When parents send their children to Sylvan Learning Centers to have them manipulated into becoming enthusiastic about their studies, they do so from concern for their children's welfare. It may be that some of these parents wish that one didn't have to have specialized training to get a job and that their kid didn't have to be brainwashed into becoming a computer nerd. But what can they do? They can't change society, and their child may be unemployable if he doesn't have certain skills. So they send him to Sylvan. 153. Thus control over human behavior will be introduced not by a calculated decision of the authorities but through a process of social evolution (RAPID evolution, however). The process will be impossible to resist, because each advance, considered by itself, will appear to be beneficial, or at least the evil involved in making the advance will appear to be beneficial, or at least the evil involved in making the advance will seem to be less than that which would result from not making it (see paragraph 127). Propaganda for example is used for many good purposes, such as discouraging child abuse or race hatred. [14] Sex education is obviously useful, yet the effect of sex education (to the extent that it is successful) is to take the shaping of sexual attitudes away from the family and put it into the hands of the state as represented by the public school system. 154. Suppose a biological trait is discovered that increases the likelihood that a child will grow up to be a criminal and suppose some sort of gene therapy can remove this trait. [29] Of course most parents whose children possess the trait will have them undergo the therapy. It would be inhumane to do otherwise, since the child would probably have a miserable life if he grew up to be a criminal. But many or most primitive societies have a low crime rate in comparison with that of our society, even though they have neither high-tech methods of child-rearing nor harsh systems of punishment. Since there is no reason to suppose that more modern men than primitive men have innate predatory tendencies, the high crime rate of our society must be due to the pressures that modern conditions put on people, to which many cannot or will not adjust. Thus a treatment designed to remove potential criminal tendencies is at least in part a way of re-engineering people so that they suit the requirements of the system. 155. Our society tends to regard as a "sickness" any mode of thought or behavior that is inconvenient for the system, and this is plausible because when an individual doesn't fit into the system it causes pain to the individual as well as problems for the system. Thus the manipulation of an individual to adjust him to the system is seen as a "cure" for a "sickness" and therefore as good. 156. In paragraph 127 we pointed out that if the use of a new item of technology is INITIALLY optional, it does not necessarily REMAIN optional, because the new technology tends to change society in such a way that it becomes difficult or impossible for an individual to function without using that technology. This applies also to the technology of human behavior. In a world in which most children are put through a program to make them enthusiastic about studying, a parent will almost be forced to put his kid through such a program, because if he does not, then the kid will grow up to be, comparatively speaking, an ignoramus and therefore unemployable. Or suppose a biological treatment is discovered that, without undesirable side-effects, will greatly reduce the psychological stress from which so many people suffer in our society. If large numbers of people choose to undergo the treatment, then the general level of stress in society will be reduced, so that it will be possible for the system to increase the stress-producing pressures. In fact, something like this seems to have happened already with one of our society's most important psychological tools for enabling people to reduce (or at least temporarily escape from) stress, namely, mass entertainment (see paragraph 147). Our use of mass entertainment is "optional": No law requires us to watch television, listen to the radio, read magazines. Yet mass entertainment is a means of escape and stress-reduction on which most of us have become dependent. Everyone complains about the trashiness of television, but almost everyone watches it. A few have kicked the TV habit, but it would be a rare person who could get along today without using ANY form of mass entertainment. (Yet until quite recently in human history most people got along very nicely with no other entertainment than that which each local community created for itself.) Without the entertainment industry the system probably would not have been able to get away with putting as much stress-producing pressure on us as it does. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430305992799-9S2DCIGI5U36ZWPSRLCA/javier-arce-03.26.15.jpg Cindy Rucker Gallery. New York. 03.26.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 157. Assuming that industrial society survives, it is likely that technology will eventually acquire something approaching complete control over human behavior. It has been established beyond any rational doubt that human thought and behavior have a largely biological basis. As experimenters have demonstrated, feelings such as hunger, pleasure, anger and fear can be turned on and off by electrical stimulation of appropriate parts of the brain. Memories can be destroyed by damaging parts of the brain or they can be brought to the surface by electrical stimulation. Hallucinations can be induced or moods changed by drugs. There may or may not be an immaterial human soul, but if there is one it clearly is less powerful that the biological mechanisms of human behavior. For if that were not the case then researchers would not be able so easily to manipulate human feelings and behavior with drugs and electrical currents. 158. It presumably would be impractical for all people to have electrodes inserted in their heads so that they could be controlled by the authorities. But the fact that human thoughts and feelings are so open to biological intervention shows that the problem of controlling human behavior is mainly a technical problem; a problem of neurons, hormones and complex molecules; the kind of problem that is accessible to scientific attack. Given the outstanding record of our society in solving technical problems, it is overwhelmingly probable that great advances will be made in the control of human behavior. 159. Will public resistance prevent the introduction of technological control of human behavior? It certainly would if an attempt were made to introduce such control all at once. But since technological control will be introduced through a long sequence of small advances, there will be no rational and effective public resistance. (See paragraphs 127,132, 153.) 160. To those who think that all this sounds like science fiction, we point out that yesterday's science fiction is today's fact. The Industrial Revolution has radically altered man's environment and way of life, and it is only to be expected that as technology is increasingly applied to the human body and mind, man himself will be altered as radically as his environment and way of life have been. HUMAN RACE AT A CROSSROADS 161. But we have gotten ahead of our story. It is one thing to develop in the laboratory a series of psychological or biological techniques for manipulating human behavior and quite another to integrate these techniques into a functioning social system. The latter problem is the more difficult of the two. For example, while the techniques of educational psychology doubtless work quite well in the "lab schools" where they are developed, it is not necessarily easy to apply them effectively throughout our educational system. We all know what many of our schools are like. The teachers are too busy taking knives and guns away from the kids to subject them to the latest techniques for making them into computer nerds. Thus, in spite of all its technical advances relating to human behavior the system to date has not been impressively successful in controlling human beings. The people whose behavior is fairly well under the control of the system are those of the type that might be called "bourgeois." But there are growing numbers of people who in one way or another are rebels against the system: welfare leaches, youth gangs cultists, satanists, nazis, radical environmentalists, militiamen, etc.. 162. The system is currently engaged in a desperate struggle to overcome certain problems that threaten its survival, among which the problems of human behavior are the most important. If the system succeeds in acquiring sufficient control over human behavior quickly enough, it will probably survive. Otherwise it will break down. We think the issue will most likely be resolved within the next several decades, say 40 to 100 years. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430306002549-OVCCI3P0NM77B5DQ1W8H/javier-arce-03.27.15.jpg Cindy Rucker Gallery. New York. 03.27.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 163. Suppose the system survives the crisis of the next several decades. By that time it will have to have solved, or at least brought under control, the principal problems that confront it, in particular that of "socializing" human beings; that is, making people sufficiently docile so that their behavior no longer threatens the system. That being accomplished, it does not appear that there would be any further obstacle to the development of technology, and it would presumably advance toward its logical conclusion, which is complete control over everything on Earth, including human beings and all other important organisms. The system may become a unitary, monolithic organization, or it may be more or less fragmented and consist of a number of organizations coexisting in a relationship that includes elements of both cooperation and competition, just as today the government, the corporations and other large organizations both cooperate and compete with one another. Human freedom mostly will have vanished, because individuals and small groups will be impotent vis-a-vis large organizations armed with supertechnology and an arsenal of advanced psychological and biological tools for manipulating human beings, besides instruments of surveillance and physical coercion. Only a small number of people will have any real power, and even these probably will have only very limited freedom, because their behavior too will be regulated; just as today our politicians and corporation executives can retain their positions of power only as long as their behavior remains within certain fairly narrow limits. 164. Don't imagine that the systems will stop developing further techniques for controlling human beings and nature once the crisis of the next few decades is over and increasing control is no longer necessary for the system's survival. On the contrary, once the hard times are over the system will increase its control over people and nature more rapidly, because it will no longer be hampered by difficulties of the kind that it is currently experiencing. Survival is not the principal motive for extending control. As we explained in paragraphs 87-90, technicians and scientists carry on their work largely as a surrogate activity; that is, they satisfy their need for power by solving technical problems. They will continue to do this with unabated enthusiasm, and among the most interesting and challenging problems for them to solve will be those of understanding the human body and mind and intervening in their development. For the "good of humanity," of course. 165. But suppose on the other hand that the stresses of the coming decades prove to be too much for the system. If the system breaks down there may be a period of chaos, a "time of troubles" such as those that history has recorded: at various epochs in the past. It is impossible to predict what would emerge from such a time of troubles, but at any rate the human race would be given a new chance. The greatest danger is that industrial society may begin to reconstitute itself within the first few years after the breakdown. Certainly there will be many people (power-hungry types especially) who will be anxious to get the factories running again. 166. Therefore two tasks confront those who hate the servitude to which the industrial system is reducing the human race. First, we must work to heighten the social stresses within the system so as to increase the likelihood that it will break down or be weakened sufficiently so that a revolution against it becomes possible. Second, it is necessary to develop and propagate an ideology that opposes technology and the industrial society if and when the system becomes sufficiently weakened. And such an ideology will help to assure that, if and when industrial society breaks down, its remnants will be smashed beyond repair, so that the system cannot be reconstituted. The factories should be destroyed, technical books burned, etc. HUMAN SUFFERING 167. The industrial system will not break down purely as a result of revolutionary action. It will not be vulnerable to revolutionary attack unless its own internal problems of development lead it into very serious difficulties. So if the system breaks down it will do so either spontaneously, or through a process that is in part spontaneous but helped along by revolutionaries. If the breakdown is sudden, many people will die, since the world's population has become so overblown that it cannot even feed itself any longer without advanced technology. Even if the breakdown is gradual enough so that reduction of the population can occur more through lowering of the birth rate than through elevation of the death rate, the process of de-industrialization probably will be very chaotic and involve much suffering. It is naive to think it likely that technology can be phased out in a smoothly managed orderly way, especially since the technophiles will fight stubbornly at every step. Is it therefore cruel to work for the breakdown of the system? Maybe, but maybe not. In the first place, revolutionaries will not be able to break the system down unless it is already in deep trouble so that there would be a good chance of its eventually breaking down by itself anyway; and the bigger the system grows, the more disastrous the consequences of its breakdown will be; so it may be that revolutionaries, by hastening the onset of the breakdown will be reducing the extent of the disaster. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430306009742-141PRM4KW5QLKC0ACSR2/javier-arce-03.28.15.jpg Cindy Rucker Gallery. New York. 03.28.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 168. In the second place, one has to balance the struggle and death against the loss of freedom and dignity. To many of us, freedom and dignity are more important than a long life or avoidance of physical pain. Besides, we all have to die some time, and it may be better to die fighting for survival, or for a cause, than to live a long but empty and purposeless life. 169. In the third place, it is not all certain that the survival of the system will lead to less suffering than the breakdown of the system would. The system has already caused, and is continuing to cause , immense suffering all over the world. Ancient cultures, that for hundreds of years gave people a satisfactory relationship with each other and their environment, have been shattered by contact with industrial society, and the result has been a whole catalogue of economic, environmental, social and psychological problems. One of the effects of the intrusion of industrial society has been that over much of the world traditional controls on population have been thrown out of balance. Hence the population explosion, with all that it implies. Then there is the psychological suffering that is widespread throughout the supposedly fortunate countries of the West (see paragraphs 44, 45). No one knows what will happen as a result of ozone depletion, the greenhouse effect and other environmental problems that cannot yet be foreseen. And, as nuclear proliferation has shown, new technology cannot be kept out of the hands of dictators and irresponsible Third World nations. Would you like to speculate abut what Iraq or North Korea will do with genetic engineering? 170. "Oh!" say the technophiles, "Science is going to fix all that! We will conquer famine, eliminate psychological suffering, make everybody healthy and happy!" Yeah, sure. That's what they said 200 years ago. The Industrial Revolution was supposed to eliminate poverty, make everybody happy, etc. The actual result has been quite different. The technophiles are hopelessly naive (or self-deceiving) in their understanding of social problems. They are unaware of (or choose to ignore) the fact that when large changes, even seemingly beneficial ones, are introduced into a society, they lead to a long sequence of other changes, most of which are impossible to predict (paragraph 103). The result is disruption of the society. So it is very probable that in their attempt to end poverty and disease, engineer docile, happy personalities and so forth, the technophiles will create social systems that are terribly troubled, even more so that the present one. For example, the scientists boast that they will end famine by creating new, genetically engineered food plants. But this will allow the human population to keep expanding indefinitely, and it is well known that crowding leads to increased stress and aggression. This is merely one example of the PREDICTABLE problems that will arise. We emphasize that, as past experience has shown, technical progress will lead to other new problems for society far more rapidly that it has been solving old ones. Thus it will take a long difficult period of trial and error for the technophiles to work the bugs out of their Brave New World (if they ever do). In the meantime there will be great suffering. So it is not all clear that the survival of industrial society would involve less suffering than the breakdown of that society would. Technology has gotten the human race into a fix from which there is not likely to be any easy escape. THE FUTURE 171. But suppose now that industrial society does survive the next several decade and that the bugs do eventually get worked out of the system, so that it functions smoothly. What kind of system will it be? We will consider several possibilities. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430306022638-145U5LSJ2WDV4G4JXOE2/javier-arce-03.29.15.jpg Cindy Rucker Gallery. New York. 03.29.15 Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper, printed manifesto. dimensions Variable. 172. First let us postulate that the computer scientists succeed in developing intelligent machines that can do all things better that human beings can do them. In that case presumably all work will be done by vast, highly organized systems of machines and no human effort will be necessary. Either of two cases might occur. The machines might be permitted to make all of their own decisions without human oversight, or else human control over the machines might be retained. 173. If the machines are permitted to make all their own decisions, we can't make any conjectures as to the results, because it is impossible to guess how such machines might behave. We only point out that the fate of the human race would be at the mercy of the machines. It might be argued that the human race would never be foolish enough to hand over all the power to the machines. But we are suggesting neither that the human race would voluntarily turn power over to the machines nor that the machines would willfully seize power. What we do suggest is that the human race might easily permit itself to drift into a position of such dependence on the machines that it would have no practical choice but to accept all of the machines decisions. As society and the problems that face it become more and more complex and machines become more and more intelligent, people will let machines make more of their decision for them, simply because machine-made decisions will bring better result than man-made ones. Eventually a stage may be reached at which the decisions necessary to keep the system running will be so complex that human beings will be incapable of making them intelligently. At that stage the machines will be in effective control. People won't be able to just turn the machines off, because they will be so dependent on them that turning them off would amount to suicide. 174. On the other hand it is possible that human control over the machines may be retained. In that case the average man may have control over certain private machines of his own, such as his car of his personal computer, but control over large systems of machines will be in the hands of a tiny elite -- just as it is today, but with two difference. Due to improved techniques the elite will have greater control over the masses; and because human work will no longer be necessary the masses will be superfluous, a useless burden on the system. If the elite is ruthless the may simply decide to exterminate the mass of humanity. If they are humane they may use propaganda or other psychological or biological techniques to reduce the birth rate until the mass of humanity becomes extinct, leaving the world to the elite. Or, if the elite consist of soft-hearted liberals, they may decide to play the role of good shepherds to the rest of the human race. They will see to it that everyone's physical needs are satisfied, that all children are raised under psychologically hygienic conditions, that everyone has a wholesome hobby to keep him busy, and that anyone who may become dissatisfied undergoes "treatment" to cure his "problem." Of course, life will be so purposeless that people will have to be biologically or psychologically engineered either to remove their need for the power process or to make them "sublimate" their drive for power into some harmless hobby. These engineered human beings may be happy in such a society, but they most certainly will not be free. They will have been reduced to the status of domestic animals. 175. But suppose now that the computer scientists do not succeed in developing artificial intelligence, so that human work remains necessary. Even so, machines will take care of more and more of the simpler tasks so that there will be an increasing surplus of human workers at the lower levels of ability. (We see this happening already. There are many people who find it difficult or impossible to get work, because for intellectual or psychological reasons they cannot acquire the level of training necessary to make themselves useful in the present system.) On those who are employed, ever-increasing demands will be placed; They will need more and m ore training, more and more ability, and will have to be ever more reliable, conforming and docile, because they will be more and more like cells of a giant organism. Their tasks will be increasingly specialized so that their work will be, in a sense, out of touch with the real world, being concentrated on one tiny slice of reality. The system will have to use any means that I can, whether psychological or biological, to engineer people to be docile, to have the abilities that the system requires and to "sublimate" their drive for power into some specialized task. But the statement that the people of such a society will have to be docile may require qualification. The society may find competitiveness useful, provided that ways are found of directing competitiveness into channels that serve that needs of the system. We can imagine into channels that serve the needs of the system. We can imagine a future society in which there is endless competition for positions of prestige an power. But no more than a very few people will ever reach the top, where the only real power is (see end of paragraph 163). Very repellent is a society in which a person can satisfy his needs for power only by pushing large numbers of other people out of the way and depriving them of THEIR opportunity for power. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1430309195267-NN1YEQD847A9V2T8KNJN/javier-arce-.jpg Cindy Rucker Gallery. New York. Untitled (Unabomber/ NY Times), 2015. Presentation case, daily newspaper stack, printed manifesto. dimensions Variable. 176. Once can envision scenarios that incorporate aspects of more than one of the possibilities that we have just discussed. For instance, it may be that machines will take over most of the work that is of real, practical importance, but that human beings will be kept busy by being given relatively unimportant work. It has been suggested, for example, that a great development of the service of industries might provide work for human beings. Thus people will would spend their time shinning each others shoes, driving each other around inn taxicab, making handicrafts for one another, waiting on each other's tables, etc. This seems to us a thoroughly contemptible way for the human race to end up, and we doubt that many people would find fulfilling lives in such pointless busy-work. They would seek other, dangerous outlets (drugs, , crime, "cults," hate groups) unless they were biological or psychologically engineered to adapt them to such a way of life. 177. Needless to day, the scenarios outlined above do not exhaust all the possibilities. They only indicate the kinds of outcomes that seem to us mots likely. But wee can envision no plausible scenarios that are any more palatable that the ones we've just described. It is overwhelmingly probable that if the industrial-technological system survives the next 40 to 100 years, it will by that time have developed certain general characteristics: Individuals (at least those of the "bourgeois" type, who are integrated into the system and make it run, and who therefore have all the power) will be more dependent than ever on large organizations; they will be more "socialized" that ever and their physical and mental qualities to a significant extent (possibly to a very great extent ) will be those that are engineered into them rather than being the results of chance (or of God's will, or whatever); and whatever may be left of wild nature will be reduced to remnants preserved for scientific study and kept under the supervision and management of scientists (hence it will no longer be truly wild). In the long run (say a few centuries from now) it is it is likely that neither the human race nor any other important organisms will exist as we know them today, because once you start modifying organisms through genetic engineering there is no reason to stop at any particular point, so that the modifications will probably continue until man and other organisms have been utterly transformed. 178. Whatever else may be the case, it is certain that technology is creating for human begins a new physical and social environment radically different from the spectrum of environments to which natural selection has adapted the human race physically and psychological. If man is not adjust to this new environment by being artificially re-engineered, then he will be adapted to it through a long an painful process of natural selection. The former is far more likely that the latter. 179. It would be better to dump the whole stinking system and take the consequences. STRATEGY 180. The technophiles are taking us all on an utterly reckless ride into the unknown. Many people understand something of what technological progress is doing to us yet take a passive attitude toward it because they think it is inevitable. But we (FC) don't think it is inevitable. We think it can be stopped, and we will give here some indications of how to go about stopping it. 181. As we stated in paragraph 166, the two main tasks for the present are to promote social stress and instability in industrial society and to develop and propagate an ideology that opposes technology and the industrial system. When the system becomes sufficiently stressed and unstable, a revolution against technology may be possible. The pattern would be similar to that of the French and Russian Revolutions. French society and Russian society, for several decades prior to their respective revolutions, showed increasing signs of stress and weakness. Meanwhile, ideologies were being developed that offered a new world view that was quite different from the old one. In the Russian case, revolutionaries were actively working to undermine the old order. Then, when the old system was put under sufficient additional stress (by financial crisis in France, by military defeat in Russia) it was swept away by revolution. What we propose in something along the same lines. 182. It will be objected that the French and Russian Revolutions were failures. But most revolutions have two goals. One is to destroy an old form of society and the other is to set up the new form of society envisioned by the revolutionaries. The French and Russian revolutionaries failed (fortunately!) to create the new kind of society of which they dreamed, but they were quite successful in destroying the existing form of society. 183. But an ideology, in order to gain enthusiastic support, must have a positive ideals well as a negative one; it must be FOR something as well as AGAINST something. The positive ideal that we propose is Nature. That is , WILD nature; those aspects of the functioning of the Earth and its living things that are independent of human management and free of human interference and control. And with wild nature we include human nature, by which we mean those aspects of the functioning of the human individual that are not subject to regulation by organized society but are products of chance, or free will, or God (depending on your religious or philosophical opinions). 184. Nature makes a perfect counter-ideal to technology for several reasons. Nature (that which is outside the power of the system) is the opposite of technology (which seeks to expand indefinitely the power of the system). Most people will agree that nature is beautiful; certainly it has tremendous popular appeal. The radical environmentalists ALREADY hold an ideology that exalts nature and opposes technology. [30] It is not necessary for the sake of nature to set up some chimerical utopia or any new kind of social order. Nature takes care of itself: It was a spontaneous creation that existed long before any human society, and for countless centuries many different kinds of human societies coexisted with nature without doing it an excessive amount of damage. Only with the Industrial Revolution did the effect of human society on nature become really devastating. To relieve the pressure on nature it is not necessary to create a special kind of social system, it is only necessary to get rid of industrial society. Granted, this will not solve all problems. Industrial society has already done tremendous damage to nature and it will take a very long time for the scars to heal. Besides, even pre-industrial societies can do significant damage to nature. Nevertheless, getting rid of industrial society will accomplish a great deal. It will relieve the worst of the pressure on nature so that the scars can begin to heal. It will remove the capacity of organized society to keep increasing its control over nature (including human nature). Whatever kind of society may exist after the demise of the industrial system, it is certain that most people will live close to nature, because in the absence of advanced technology there is not other way that people CAN live. To feed themselves they must be peasants or herdsmen or fishermen or hunter, etc., And, generally speaking, local autonomy should tend to increase, because lack of advanced technology and rapid communications will limit the capacity of governments or other large organizations to control local communities. 185. As for the negative consequences of eliminating industrial society -- well, you can't eat your cake and have it too. To gain one thing you have to sacrifice another. 186. Most people hate psychological conflict. For this reason they avoid doing any serious thinking about difficult social issues, and they like to have such issues presented to them in simple, black-and-white terms: THIS is all good and THAT is all bad. The revolutionary ideology should therefore be developed on two levels. 187. On the more sophisticated level the ideology should address itself to people who are intelligent, thoughtful and rational. The object should be to create a core of people who will be opposed to the industrial system on a rational, thought-out basis, with full appreciation of the problems and ambiguities involved, and of the price that has to be paid for getting rid of the system. It is particularly important to attract people of this type, as they are capable people and will be instrumental in influencing others. These people should be addressed on as rational a level as possible. Facts should never intentionally be distorted and intemperate language should be avoided. This does not mean that no appeal can be made to the emotions, but in making such appeal care should be taken to avoid misrepresenting the truth or doing anything else that would destroy the intellectual respectability of the ideology. 188. On a second level, the ideology should be propagated in a simplified form that will enable the unthinking majority to see the conflict of technology vs. nature in unambiguous terms. But even on this second level the ideology should not be expressed in language that is so cheap, intemperate or irrational that it alienates people of the thoughtful and rational type. Cheap, intemperate propaganda sometimes achieves impressive short-term gains, but it will be more advantageous in the long run to keep the loyalty of a small number of intelligently committed people than to arouse the passions of an unthinking, fickle mob who will change their attitude as soon as someone comes along with a better propaganda gimmick. However, propaganda of the rabble-rousing type may be necessary when the system is nearing the point of collapse and there is a final struggle between rival ideologies to determine which will become dominant when the old world-view goes under. 189. Prior to that final struggle, the revolutionaries should not expect to have a majority of people on their side. History is made by active, determined minorities, not by the majority, which seldom has a clear and consistent idea of what it really wants. Until the time comes for the final push toward revolution [31], the task of revolutionaries will be less to win the shallow support of the majority than to build a small core of deeply committed people. As for the majority, it will be enough to make them aware of the existence of the new ideology and remind them of it frequently; though of course it will be desirable to get majority support to the extent that this can be done without weakening the core of seriously committed people. 190. Any kind of social conflict helps to destabilize the system, but one should be careful about what kind of conflict one encourages. The line of conflict should be drawn between the mass of the people and the power-holding elite of industrial society (politicians, scientists, upper-level business executives, government officials, etc..). It should NOT be drawn between the revolutionaries and the mass of the people. For example, it would be bad strategy for the revolutionaries to condemn Americans for their habits of consumption. Instead, the average American should be portrayed as a victim of the advertising and marketing industry, which has suckered him into buying a lot of junk that he doesn't need and that is very poor compensation for his lost freedom. Either approach is consistent with the facts. It is merely a matter of attitude whether you blame the advertising industry for manipulating the public or blame the public for allowing itself to be manipulated. As a matter of strategy one should generally avoid blaming the public. 191. One should think twice before encouraging any other social conflict than that between the power-holding elite (which wields technology) and the general public (over which technology exerts its power). For one thing, other conflicts tend to distract attention from the important conflicts (between power-elite and ordinary people, between technology and nature); for another thing, other conflicts may actually tend to encourage technologization, because each side in such a conflict wants to use technological power to gain advantages over its adversary. This is clearly seen in rivalries between nations. It also appears in ethnic conflicts within nations. For example, in America many black leaders are anxious to gain power for African Americans by placing back individuals in the technological power-elite. They want there to be many black government officials, scientists, corporation executives and so forth. In this way they are helping to absorb the African American subculture into the technological system. Generally speaking, one should encourage only those social conflicts that can be fitted into the framework of the conflicts of power--elite vs. ordinary people, technology vs nature. 192. But the way to discourage ethnic conflict is NOT through militant advocacy of minority rights (see paragraphs 21, 29). Instead, the revolutionaries should emphasize that although minorities do suffer more or less disadvantage, this disadvantage is of peripheral significance. Our real enemy is the industrial-technological system, and in the struggle against the system, ethnic distinctions are of no importance. 193. The kind of revolution we have in mind will not necessarily involve an armed uprising against any government. It may or may not involve physical violence, but it will not be a POLITICAL revolution. Its focus will be on technology and economics, not politics. [32] 194. Probably the revolutionaries should even AVOID assuming political power, whether by legal or illegal means, until the industrial system is stressed to the danger point and has proved itself to be a failure in the eyes of most people. Suppose for example that some "green" party should win control of the United States Congress in an election. In order to avoid betraying or watering down their own ideology they would have to take vigorous measures to turn economic growth into economic shrinkage. To the average man the results would appear disastrous: There would be massive unemployment, shortages of commodities, etc. Even if the grosser ill effects could be avoided through superhumanly skillful management, still people would have to begin giving up the luxuries to which they have become addicted. Dissatisfaction would grow, the "green" party would be voted out of of fice and the revolutionaries would have suffered a severe setback. For this reason the revolutionaries should not try to acquire political power until the system has gotten itself into such a mess that any hardships will be seen as resulting from the failures of the industrial system itself and not from the policies of the revolutionaries. The revolution against technology will probably have to be a revolution by outsiders, a revolution from below and not from above. 195. The revolution must be international and worldwide. It cannot be carried out on a nation-by-nation basis. Whenever it is suggested that the United States, for example, should cut back on technological progress or economic growth, people get hysterical and start screaming that if we fall behind in technology the Japanese will get ahead of us. Holy robots The world will fly off its orbit if the Japanese ever sell more cars than we do! (Nationalism is a great promoter of technology.) More reasonably, it is argued that if the relatively democratic nations of the world fall behind in technology while nasty, dictatorial nations like China, Vietnam and North Korea continue to progress, eventually the dictators may come to dominate the world. That is why the industrial system should be attacked in all nations simultaneously, to the extent that this may be possible. True, there is no assurance that the industrial system can be destroyed at approximately the same time all over the world, and it is even conceivable that the attempt to overthrow the system could lead instead to the domination of the system by dictators. That is a risk that has to be taken. And it is worth taking, since the difference between a "democratic" industrial system and one controlled by dictators is small compared with the difference between an industrial system and a non-industrial one. [33] It might even be argued that an industrial system controlled by dictators would be preferable, because dictator-controlled systems usually have proved inefficient, hence they are presumably more likely to break down. Look at Cuba. 196. Revolutionaries might consider favoring measures that tend to bind the world economy into a unified whole. Free trade agreements like NAFTA and GATT are probably harmful to the environment in the short run, but in the long run they may perhaps be advantageous because they foster economic interdependence between nations. I will be eaier to destroy the industrial system on a worldwide basis if he world economy is so unified that its breakdown in any on major nation will lead to its breakdwon in al industrialized nations. the long run they may perhaps be advantageous because they foster economic interdependence between nations. It will be easier to destroy the industrial system on a worldwide basis if the world economy is so unified that its breakdown in any one major nation will lead to its breakdown in all industrialized nations. 197. Some people take the line that modern man has too much power, too much control over nature; they argue for a more passive attitude on the part of the human race. At best these people are expressing themselves unclearly, because they fail to distinguish between power for LARGE ORGANIZATIONS and power for INDIVIDUALS and SMALL GROUPS. It is a mistake to argue for powerlessness and passivity, because people NEED power. Modern man as a collective entity--that is, the industrial system--has immense power over nature, and we (FC) regard this as evil. But modern INDIVIDUALS and SMALL GROUPS OF INDIVIDUALS have far less power than primitive man ever did. Generally speaking, the vast power of "modern man" over nature is exercised not by individuals or small groups but by large organizations. To the extent that the average modern INDIVIDUAL can wield the power of technology, he is permitted to do so only within narrow limits and only under the supervision and control of the system. (You need a license for everything and with the license come rules and regulations). The individual has only those technological powers with which the system chooses to provide him. His PERSONAL power over nature is slight. 198. Primitive INDIVIDUALS and SMALL GROUPS actually had considerable power over nature; or maybe it would be better to say power WITHIN nature. When primitive man needed food he knew how to find and prepare edible roots, how to track game and take it with homemade weapons. He knew how to protect himself from heat, cold, rain, dangerous animals, etc. But primitive man did relatively little damage to nature because the COLLECTIVE power of primitive society was negligible compared to the COLLECTIVE power of industrial society. 199. Instead of arguing for powerlessness and passivity, one should argue that the power of the INDUSTRIAL SYSTEM should be broken, and that this will greatly INCREASE the power and freedom of INDIVIDUALS and SMALL GROUPS. 200. Until the industrial system has been thoroughly wrecked, the destruction of that system must be the revolutionaries' ONLY goal. Other goals would distract attention and energy from the main goal. More importantly, if the revolutionaries permit themselves to have any other goal than the destruction of technology, they will be tempted to use technology as a tool for reaching that other goal. If they give in to that temptation, they will fall right back into the technological trap, because modern technology is a unified, tightly organized system, so that, in order to retain SOME technology, one finds oneself obliged to retain MOST technology, hence one ends up sacrificing only token amounts of technology. 201. Suppose for example that the revolutionaries took "social justice" as a goal. Human nature being what it is, social justice would not come about spontaneously; it would have to be enforced. In order to enforce it the revolutionaries would have to retain central organization and control. For that they would need rapid long-distance transportation and communication, and therefore all the technology needed to support the transportation and communication systems. To feed and clothe poor people they would have to use agricultural and manufacturing technology. And so forth. So that the attempt to insure social justice would force them to retain most parts of the technological system. Not that we have anything against social justice, but it must not be allowed to interfere with the effort to get rid of the technological system. 202. It would be hopeless for revolutionaries to try to attack the system without using SOME modern technology. If nothing else they must use the communications media to spread their message. But they should use modern technology for only ONE purpose: to attack the technological system. 203. Imagine an alcoholic sitting with a barrel of wine in front of him. Suppose he starts saying to himself, "Wine isn't bad for you if used in moderation. Why, they say small amounts of wine are even good for you! It won't do me any harm if I take just one little drink..." Well you know what is going to happen. Never forget that the human race with technology is just like an alcoholic with a barrel of wine. 204. Revolutionaries should have as many children as they can. There is strong scientific evidence that social attitudes are to a significant extent inherited. No one suggests that a social attitude is a direct outcome of a person's genetic constitution, but it appears that personality traits tend, within the context of our society, to make a person more likely to hold this or that social attitude. Objections to these findings have been raised, but objections are feeble and seem to be ideologically motivated. In any event, no one denies that children tend on the average to hold social attitudes similar to those of their parents. From our point of view it doesn't matter all that much whether the attitudes are passed on genetically or through childhood training. In either case the ARE passed on. 205. The trouble is that many of the people who are inclined to rebel against the industrial system are also concerned about the population problems, hence they are apt to have few or no children. In this way they may be handing the world over to the sort of people who support or at least accept the industrial system. To insure the strength of the next generation of revolutionaries the present generation must reproduce itself abundantly. In doing so they will be worsening the population problem only slightly. And the most important problem is to get rid of the industrial system, because once the industrial system is gone the world's population necessarily will decrease (see paragraph 167); whereas, if the industrial system survives, it will continue developing new techniques of food production that may enable the world's population to keep increasing almost indefinitely. 206. With regard to revolutionary strategy, the only points on which we absolutely insist are that the single overriding goal must be the elimination of modern technology, and that no other goal can be allowed to compete with this one. For the rest, revolutionaries should take an empirical approach. If experience indicates that some of the recommendations made in the foregoing paragraphs are not going to give good results, then those recommendations should be discarded. TWO KINDS OF TECHNOLOGY 207. An argument likely to be raised against our proposed revolution is that it is bound to fail, because (it is claimed) throughout history technology has always progressed, never regressed, hence technological regression is impossible. But this claim is false. 208. We distinguish between two kinds of technology, which we will call small-scale technology and organization-dependent technology. Small-scale technology is technology that can be used by small-scale communities without outside assistance. Organization-dependent technology is technology that depends on large-scale social organization. We are aware of no significant cases of regression in small-scale technology. But organization-dependent technology DOES regress when the social organization on which it depends breaks down. Example: When the Roman Empire fell apart the Romans' small-scale technology survived because any clever village craftsman could build, for instance, a water wheel, any skilled smith could make steel by Roman methods, and so forth. But the Romans' organization-dependent technology DID regress. Their aqueducts fell into disrepair and were never rebuilt. Their techniques of road construction were lost. The Roman system of urban sanitation was forgotten, so that until rather recent times did the sanitation of European cities that of Ancient Rome. 209. The reason why technology has seemed always to progress is that, until perhaps a century or two before the Industrial Revolution, most technology was small-scale technology. But most of the technology developed since the Industrial Revolution is organization-dependent technology. Take the refrigerator for example. Without factory-made parts or the facilities of a post-industrial machine shop it would be virtually impossible for a handful of local craftsmen to build a refrigerator. If by some miracle they did succeed in building one it would be useless to them without a reliable source of electric power. So they would have to dam a stream and build a generator. Generators require large amounts of copper wire. Imagine trying to make that wire without modern machinery. And where would they get a gas suitable for refrigeration? It would be much easier to build an icehouse or preserve food by drying or picking, as was done before the invention of the refrigerator. 210. So it is clear that if the industrial system were once thoroughly broken down, refrigeration technology would quickly be lost. The same is true of other organization-dependent technology. And once this technology had been lost for a generation or so it would take centuries to rebuild it, just as it took centuries to build it the first time around. Surviving technical books would be few and scattered. An industrial society, if built from scratch without outside help, can only be built in a series of stages: You need tools to make tools to make tools to make tools ... . A long process of economic development and progress in social organization is required. And, even in the absence of an ideology opposed to technology, there is no reason to believe that anyone would be interested in rebuilding industrial society. The enthusiasm for "progress" is a phenomenon particular to the modern form of society, and it seems not to have existed prior to the 17th century or thereabouts. 211. In the late Middle Ages there were four main civilizations that were about equally "advanced": Europe, the Islamic world, India, and the Far East (China, Japan, Korea). Three of those civilizations remained more or less stable, and only Europe became dynamic. No one knows why Europe became dynamic at that time; historians have their theories but these are only speculation. At any rate, it is clear that rapid development toward a technological form of society occurs only under special conditions. So there is no reason to assume that long-lasting technological regression cannot be brought about. 212. Would society EVENTUALLY develop again toward an industrial-technological form? Maybe, but there is no use in worrying about it, since we can't predict or control events 500 or 1,000 years in the future. Those problems must be dealt with by the people who will live at that time. THE DANGER OF LEFTISM 213. Because of their need for rebellion and for membership in a movement, leftists or persons of similar psychological type are often unattracted to a rebellious or activist movement whose goals and membership are not initially leftist. The resulting influx of leftish types can easily turn a non-leftist movement into a leftist one, so that leftist goals replace or distort the original goals of the movement. 214. To avoid this, a movement that exalts nature and opposes technology must take a resolutely anti-leftist stance and must avoid all collaboration with leftists. Leftism is in the long run inconsistent with wild nature, with human freedom and with the elimination of modern technology. Leftism is collectivist; it seeks to bind together the entire world (both nature and the human race) into a unified whole. But this implies management of nature and of human life by organized society, and it requires advanced technology. You can't have a united world without rapid transportation and communication, you can't make all people love one another without sophisticated psychological techniques, you can't have a "planned society" without the necessary technological base. Above all, leftism is driven by the need for power, and the leftist seeks power on a collective basis, through identification with a mass movement or an organization. Leftism is unlikely ever to give up technology, because technology is too valuable a source of collective power. 215. The anarchist [34] too seeks power, but he seeks it on an individual or small-group basis; he wants individuals and small groups to be able to control the circumstances of their own lives. He opposes technology because it makes small groups dependent on large organizations. 216. Some leftists may seem to oppose technology, but they will oppose it only so long as they are outsiders and the technological system is controlled by non-leftists. If leftism ever becomes dominant in society, so that the technological system becomes a tool in the hands of leftists, they will enthusiastically use it and promote its growth. In doing this they will be repeating a pattern that leftism has shown again and again in the past. When the Bolsheviks in Russia were outsiders, they vigorously opposed censorship and the secret police, they advocated self-determination for ethnic minorities, and so forth; but as soon as they came into power themselves, they imposed a tighter censorship and created a more ruthless secret police than any that had existed under the tsars, and they oppressed ethnic minorities at least as much as the tsars had done. In the United States, a couple of decades ago when leftists were a minority in our universities, leftist professors were vigorous proponents of academic freedom, but today, in those universities where leftists have become dominant, they have shown themselves ready to take away from everyone else's academic freedom. (This is "political correctness.") The same will happen with leftists and technology: They will use it to oppress everyone else if they ever get it under their own control. 217. In earlier revolutions, leftists of the most power-hungry type, repeatedly, have first cooperated with non-leftist revolutionaries, as well as with leftists of a more libertarian inclination, and later have double-crossed them to seize power for themselves. Robespierre did this in the French Revolution, the Bolsheviks did it in the Russian Revolution, the communists did it in Spain in 1938 and Castro and his followers did it in Cuba. Given the past history of leftism, it would be utterly foolish for non-leftist revolutionaries today to collaborate with leftists. 218. Various thinkers have pointed out that leftism is a kind of religion. Leftism is not a religion in the strict sense because leftist doctrine does not postulate the existence of any supernatural being. But for the leftist, leftism plays a psychological role much like that which religion plays for some people. The leftist NEEDS to believe in leftism; it plays a vital role in his psychological economy. His beliefs are not easily modified by logic or facts. He has a deep conviction that leftism is morally Right with a capital R, and that he has not only a right but a duty to impose leftist morality on everyone. (However, many of the people we are referring to as "leftists" do not think of themselves as leftists and would not describe their system of beliefs as leftism. We use the term "leftism" because we don't know of any better words to designate the spectrum of related creeds that includes the feminist, gay rights, political correctness, etc., movements, and because these movements have a strong affinity with the old left. See paragraphs 227-230.) 219. Leftism is totalitarian force. Wherever leftism is in a position of power it tends to invade every private corner and force every thought into a leftist mold. In part this is because of the quasi-religious character of leftism; everything contrary to leftists beliefs represents Sin. More importantly, leftism is a totalitarian force because of the leftists' drive for power. The leftist seeks to satisfy his need for power through identification with a social movement and he tries to go through the power process by helping to pursue and attain the goals of the movement (see paragraph 83). But no matter how far the movement has gone in attaining its goals the leftist is never satisfied, because his activism is a surrogate activity (see paragraph 41). That is, the leftist's real motive is not to attain the ostensible goals of leftism; in reality he is motivated by the sense of power he gets from struggling for and then reaching a social goal.[35] Consequently the leftist is never satisfied with the goals he has already attained; his need for the power process leads him always to pursue some new goal. The leftist wants equal opportunities for minorities. When that is attained he insists on statistical equality of achievement by minorities. And as long as anyone harbors in some corner of his mind a negative attitude toward some minority, the leftist has to re-educated him. And ethnic minorities are not enough; no one can be allowed to have a negative attitude toward homosexuals, disabled people, fat people, old people, ugly people, and on and on and on. It's not enough that the public should be informed about the hazards of smoking; a warning has to be stamped on every package of cigarettes. Then cigarette advertising has to be restricted if not banned. The activists will never be satisfied until tobacco is outlawed, and after that it will be alco hot then junk food, etc. Activists have fought gross child abuse, which is reasonable. But now they want to stop all spanking. When they have done that they will want to ban something else they consider unwholesome, then another thing and then another. They will never be satisfied until they have complete control over all child rearing practices. And then they will move on to another cause. 220. Suppose you asked leftists to make a list of ALL the things that were wrong with society, and then suppose you instituted EVERY social change that they demanded. It is safe to say that within a couple of years the majority of leftists would find something new to complain about, some new social "evil" to correct because, once again, the leftist is motivated less by distress at society's ills than by the need to satisfy his drive for power by imposing his solutions on society. 221. Because of the restrictions placed on their thoughts and behavior by their high level of socialization, many leftists of the over-socialized type cannot pursue power in the ways that other people do. For them the drive for power has only one morally acceptable outlet, and that is in the struggle to impose their morality on everyone. 222. Leftists, especially those of the oversocialized type, are True Believers in the sense of Eric Hoffer's book, "The True Believer." But not all True Believers are of the same psychological type as leftists. Presumably a truebelieving nazi, for instance is very different psychologically from a truebelieving leftist. Because of their capacity for single-minded devotion to a cause, True Believers are a useful, perhaps a necessary, ingredient of any revolutionary movement. This presents a problem with which we must admit we don't know how to deal. We aren't sure how to harness the energies of the True Believer to a revolution against technology. At present all we can say is that no True Believer will make a safe recruit to the revolution unless his commitment is exclusively to the destruction of technology. If he is committed also to another ideal, he may want to use technology as a tool for pursuing that other ideal (see paragraphs 220, 221). 223. Some readers may say, "This stuff about leftism is a lot of crap. I know John and Jane who are leftish types and they don't have all these totalitarian tendencies." It's quite true that many leftists, possibly even a numerical majority, are decent people who sincerely believe in tolerating others' values (up to a point) and wouldn't want to use high-handed methods to reach their social goals. Our remarks about leftism are not meant to apply to every individual leftist but to describe the general character of leftism as a movement. And the general character of a movement is not necessarily determined by the numerical proportions of the various kinds of people involved in the movement. 224. The people who rise to positions of power in leftist movements tend to be leftists of the most power-hungry type because power-hungry people are those who strive hardest to get into positions of power. Once the power-hungry types have captured control of the movement, there are many leftists of a gentler breed who inwardly disapprove of many of the actions of the leaders, but cannot bring themselves to oppose them. They NEED their faith in the movement, and because they cannot give up this faith they go along with the leaders. True, SOME leftists do have the guts to oppose the totalitarian tendencies that emerge, but they generally lose, because the power-hungry types are better organized, are more ruthless and Machiavellian and have taken care to build themselves a strong power base. 225. These phenomena appeared clearly in Russia and other countries that were taken over by leftists. Similarly, before the breakdown of communism in the USSR, leftish types in the West would seldom criticize that country. If prodded they would admit that the USSR did many wrong things, but then they would try to find excuses for the communists and begin talking about the faults of the West. They always opposed Western military resistance to communist aggression. Leftish types all over the world vigorously protested the U.S. military action in Vietnam, but when the USSR invaded Afghanistan they did nothing. Not that they approved of the Soviet actions; but because of their leftist faith, they just couldn't bear to put themselves in opposition to communism. Today, in those of our universities where "political correctness" has become dominant, there are probably many leftish types who privately disapprove of the suppression of academic freedom, but they go along with it anyway. 226. Thus the fact that many individual leftists are personally mild and fairly tolerant people by no means prevents leftism as a whole form having a totalitarian tendency. 227. Our discussion of leftism has a serious weakness. It is still far from clear what we mean by the word "leftist." There doesn't seem to be much we can do about this. Today leftism is fragmented into a whole spectrum of activist movements. Yet not all activist movements are leftist, and some activist movements (e.g.., radical environmentalism) seem to include both personalities of the leftist type and personalities of thoroughly un-leftist types who ought to know better than to collaborate with leftists. Varieties of leftists fade out gradually into varieties of non-leftists and we ourselves would often be hard-pressed to decide whether a given individual is or is not a leftist. To the extent that it is defined at all, our conception of leftism is defined by the discussion of it that we have given in this article, and we can only advise the reader to use his own judgment in deciding who is a leftist. 228. But it will be helpful to list some criteria for diagnosing leftism. These criteria cannot be applied in a cut and dried manner. Some individuals may meet some of the criteria without being leftists, some leftists may not meet any of the criteria. Again, you just have to use your judgment. 229. The leftist is oriented toward largescale collectivism. He emphasizes the duty of the individual to serve society and the duty of society to take care of the individual. He has a negative attitude toward individualism. He often takes a moralistic tone. He tends to be for gun control, for sex education and other psychologically "enlightened" educational methods, for planning, for affirmative action, for multiculturalism. He tends to identify with victims. He tends to be against competition and against violence, but he often finds excuses for those leftists who do commit violence. He is fond of using the common catch-phrases of the left like "racism, " "sexism, " "homophobia, " "capitalism," "imperialism," "neocolonialism " "genocide," "social change," "social justice," "social responsibility." Maybe the best diagnostic trait of the leftist is his tendency to sympathize with the following movements: feminism, gay rights, ethnic rights, disability rights, animal rights political correctness. Anyone who strongly sympathizes with ALL of these movements is almost certainly a leftist. [36] 230. The more dangerous leftists, that is, those who are most power-hungry, are often characterized by arrogance or by a dogmatic approach to ideology. However, the most dangerous leftists of all may be certain oversocialized types who avoid irritating displays of aggressiveness and refrain from advertising their leftism, but work quietly and unobtrusively to promote collectivist values, "enlightened" psychological techniques for socializing children, dependence of the individual on the system, and so forth. These crypto-leftists (as we may call them) approximate certain bourgeois types as far as practical action is concerned, but differ from them in psychology, ideology and motivation. The ordinary bourgeois tries to bring people under control of the system in order to protect his way of life, or he does so simply because his attitudes are conventional. The crypto-leftist tries to bring people under control of the system because he is a True Believer in a collectivistic ideology. The crypto-leftist is differentiated from the average leftist of the oversocialized type by the fact that his rebellious impulse is weaker and he is more securely socialized. He is differentiated from the ordinary well-socialized bourgeois by the fact that there is some deep lack within him that makes it necessary for him to devote himself to a cause and immerse himself in a collectivity. And maybe his (well-sublimated) drive for power is stronger than that of the average bourgeois. FINAL NOTE 231. Throughout this article we've made imprecise statements and statements that ought to have had all sorts of qualifications and reservations attached to them; and some of our statements may be flatly false. Lack of sufficient information and the need for brevity made it impossible for us to fomulate our assertions more precisely or add all the necessary qualifications. And of course in a discussion of this kind one must rely heavily on intuitive judgment, and that can sometimes be wrong. So we don't claim that this article expresses more than a crude approximation to the truth. 232. All the same we are reasonably confident that the general outlines of the picture we have painted here are roughly correct. We have portrayed leftism in its modern form as a phenomenon peculiar to our time and as a symptom of the disruption of the power process. But we might possibly be wrong about this. Oversocialized types who try to satisfy their drive for power by imposing their morality on everyone have certainly been around for a long time. But we THINK that the decisive role played by feelings of inferiority, low self-esteem, powerlessness, identification with victims by people who are not themselves victims, is a peculiarity of modern leftism. Identification with victims by people not themselves victims can be seen to some extent in 19th century leftism and early Christianity but as far as we can make out, symptoms of low self-esteem, etc., were not nearly so evident in these movements, or in any other movements, as they are in modern leftism. But we are not in a position to assert confidently that no such movements have existed prior to modern leftism. This is a significant question to which historians ought to give their attention. NOTES 1. (Paragraph 19) We are asserting that ALL, or even most, bullies and ruthless competitors suffer from feelings of inferiority. 2. (Paragraph 25) During the Victorian period many oversocialized people suffered from serious psychological problems as a result of repressing or trying to repress their sexual feelings. Freud apparently based his theories on people of this type. Today the focus of socialization has shifted from sex to aggression. 3. (Paragraph 27) Not necessarily including specialists in engineering "hard" sciences. 4. (Paragraph 28) There are many individuals of the middle and upper classes who resist some of these values, but usually their resistance is more or less covert. Such resistance appears in the mass media only to a very limited extent. The main thrust of propaganda in our society is in favor of the stated values. The main reasons why these values have become, so to speak, the official values of our society is that they are useful to the industrial system. Violence is discouraged because it disrupts the functioning of the system. Racism is discouraged because ethnic conflicts also disrupt the system, and discrimination wastes the talent of minority-group members who could be useful to the system. Poverty must be "cured" because the underclass causes problems for the system and contact with the underclass lowers the moral of the other classes. Women are encouraged to have careers because their talents are useful to the system and, more importantly because by having regular jobs women become better integrated into the system and tied directly to it rather than to their families. This helps to weaken family solidarity. (The leaders of the system say they want to strengthen the family, but they really mean is that they want the family to serve as an effective tool for socializing children in accord with the needs of the system. We argue in paragraphs 51,52 that the system cannot afford to let the family or other small-scale social groups be strong or autonomous.) 5. (Paragraph 42) It may be argued that the majority of people don't want to make their own decisions but want leaders to do their thinking for them. There is an element of truth in this. People like to make their own decisions in small matters, but making decisions on difficult, fundamental questions require facing up to psychological conflict, and most people hate psychological conflict. Hence they tend to lean on others in making difficult decisions. The majority of people are natural followers, not leaders, but they like to have direct personal access to their leaders and participate to some extent in making difficult decisions. At least to that degree they need autonomy. 6. (Paragraph 44) Some of the symptoms listed are similar to those shown by caged animals. To explain how these symptoms arise from deprivation with respect to the power process: Common-sense understanding of human nature tells one that lack of goals whose attainment requires effort leads to boredom and that boredom, long continued, often leads eventually to depression. Failure to obtain goals leads to frustration and lowering of self-esteem. Frustration leads to anger, anger to aggression, often in the form of spouse or child abuse. It has been shown that long-continued frustration commonly leads to depression and that depression tends to cause guilt, sleep disorders, eating disorders and bad feelings about oneself. Those who are tending toward depression seek pleasure as an antidote; hence insatiable hedonism and excessive sex, with perversions as a means of getting new kicks. Boredom too tends to cause excessive pleasure-seeking since, lacking other goals, people often use pleasure as a goal. See accompanying diagram. The foregoing is a simplification. Reality is more complex, and of course deprivation with respect to the power process is not the ONLY cause of the symptoms described. By the way, when we mention depression we do not necessarily mean depression that is severe enough to be treated by a psychiatrist. Often only mild forms of depression are involved. And when we speak of goals we do not necessarily mean long-term, thought out goals. For many or most people through much of human history, the goals of a hand-to-mouth existence (merely providing oneself and one's family with food from day to day) have been quite sufficient. 7. (Paragraph 52) A partial exception may be made for a few passive, inward looking groups, such as the Amish, which have little effect on the wider society. Apart from these, some genuine small-scale communities do exist in America today. For instance, youth gangs and "cults". Everyone regards them as dangerous, and so they are, because the members of these groups are loyal primarily to one another rather than to the system, hence the system cannot control them. Or take the gypsies. The gypsies commonly get away with theft and fraud because their loyalties are such that they can always get other gypsies to give testimony that "proves" their innocence. Obviously the system would be in serious trouble if too many people belonged to such groups. Some of the early-20th century Chinese thinkers who were concerned with modernizing China recognized the necessity of breaking down small-scale social groups such as the family: "(According to Sun Yat-sen) The Chinese people needed a new surge of patriotism, which would lead to a transfer of loyalty from the family to the state. . .(According to Li Huang) traditional attachments, particularly to the family had to be abandoned if nationalism were to develop to China." (Chester C. Tan, Chinese Political Thought in the Twentieth Century," page 125, page 297.) 8. (Paragraph 56) Yes, we know that 19th century America had its problems, and serious ones, but for the sake of breviety we have to express ourselves in simplified terms. 9. (Paragraph 61) We leave aside the underclass. We are speaking of the mainstream. 10. (Paragraph 62) Some social scientists, educators, "mental health" professionals and the like are doing their best to push the social drives into group 1 by trying to see to it that everyone has a satisfactory social life. 11. (Paragraphs 63, 82) Is the drive for endless material acquisition really an artificial creation of the advertising and marketing industry? Certainly there is no innate human drive for material acquisition. There have been many cultures in which people have desired little material wealth beyond what was necessary to satisfy their basic physical needs (Australian aborigines, traditional Mexican peasant culture, some African cultures). On the other hand there have also been many pre-industrial cultures in which material acquisition has played an important role. So we can't claim that today's acquisition-oriented culture is exclusively a creation of the advertising and marketing industry. But it is clear that the advertising and marketing industry has had an important part in creating that culture. The big corporations that spend millions on advertising wouldn't be spending that kind of money without solid proof that they were getting it back in increased sales. One member of FC met a sales manager a couple of years ago who was frank enough to tell him, "Our job is to make people buy things they don't want and don't need." He then described how an untrained novice could present people with the facts about a product, and make no sales at all, while a trained and experienced professional salesman would make lots of sales to the same people. This shows that people are manipulated into buying things they don't really want. 12. (Paragraph 64) The problem of purposelessness seems to have become less serious during the last 15 years or so, because people now feel less secure physically and economically than they did earlier, and the need for security provides them with a goal. But purposelessness has been replaced by frustration over the difficulty of attaining security. We emphasize the problem of purposelessness because the liberals and leftists would wish to solve our social problems by having society guarantee everyone's security; but if that could be done it would only bring back the problem of purposelessness. The real issue is not whether society provides well or poorly for people's security; the trouble is that people are dependent on the system for their security rather than having it in their own hands. This, by the way, is part of the reason why some people get worked up about the right to bear arms; possession of a gun puts that aspect of their security in their own hands. 13. (Paragraph 66) Conservatives' efforts to decrease the amount of government regulation are of little benefit to the average man. For one thing, only a fraction of the regulations can be eliminated because most regulations are necessary. For another thing, most of the deregulation affects business rather than the average individual, so that its main effect is to take power from the government and give it to private corporations. What this means for the average man is that government interference in his life is replaced by interference from big corporations, which may be permitted, for example, to dump more chemicals that get into his water supply and give him cancer. The conservatives are just taking the average man for a sucker, exploiting his resentment of Big Government to promote the power of Big Business. 14. (Paragraph 73) When someone approves of the purpose for which propaganda is being used in a given case, he generally calls it "education" or applies to it some similar euphemism. But propaganda is propaganda regardless of the purpose for which it is used. 15. (Paragraph 83) We are not expressing approval or disapproval of the Panama invasion. We only use it to illustrate a point. 16. (Paragraph 95) When the American colonies were under British rule there were fewer and less effective legal guarantees of freedom than there were after the American Constitution went into effect, yet there was more personal freedom in pre-industrial America, both before and after the War of Independence, than there was after the Industrial Revolution took hold in this country. We quote from "Violence in America: Historical and Comparative perspectives," edited by Hugh Davis Graham and Ted Robert Gurr, Chapter 12 by Roger Lane, pages 476-478: "The progressive heightening of standards of property, and with it the increasing reliance on official law enforcement (in 19th century America). . .were common to the whole society. . .[T]he change in social behavior is so long term and so widespread as to suggest a connection with the most fundamental of contemporary social processes; that of industrial urbanization itself. . ."Massachusetts in 1835 had a population of some 660,940, 81 percent rural, overwhelmingly preindustrial and native born. It's citizens were used to considerable personal freedom. Whether teamsters, farmers or artisans, they were all accustomed to setting their own schedules, and the nature of their work made them physically dependent on each other. . .Individual problems, sins or even crimes, were not generally cause for wider social concern. . ."But the impact of the twin movements to the city and to the factory, both just gathering force in 1835, had a progressive effect on personal behavior throughout the 19th century and into the 20th. The factory demanded regularity of behavior, a life governed by obedience to the rhythms of clock and calendar, the demands of foreman and supervisor. In the city or town, the needs of living in closely packed neighborhoods inhibited many actions previously unobjectionable. Both blue- and white-collar employees in larger establishments were mutually dependent on their fellows. as one man's work fit into another's, so one man's business was no longer his own. "The results of the new organization of life and work were apparent by 1900, when some 76 percent of the 2,805,346 inhabitants of Massachusetts were classified as urbanites. Much violent or irregular behavior which had been tolerable in a casual, independent society was no longer acceptable in the more formalized, cooperative atmosphere of the later period. . .The move to the cities had, in short, produced a more tractable, more socialized, more 'civilized' generation than its predecessors." 17. (Paragraph 117) Apologists for the system are fond of citing cases in which elections have been decided by one or two votes, but such cases are rare. 18. (Paragraph 119) "Today, in technologically advanced lands, men live very similar lives in spite of geographical, religious and political differences. The daily lives of a Christian bank clerk in Chicago, a Buddhist bank clerk in Tokyo, a Communist bank clerk in Moscow are far more alike than the life any one of them is like that of any single man who lived a thousand years ago. These similarities are the result of a common technology. . ." L. Sprague de Camp, "The Ancient Engineers," Ballentine edition, page 17. The lives of the three bank clerks are not IDENTICAL. Ideology does have SOME effect. But all technological societies, in order to survive, must evolve along APPROXIMATELY the same trajectory. 19. (Paragraph 123) Just think an irresponsible genetic engineer might create a lot of terrorists. 20. (Paragraph 124) For a further example of undesirable consequences of medical progress, suppose a reliable cure for cancer is discovered. Even if the treatment is too expensive to be available to any but the elite, it will greatly reduce their incentive to stop the escape of carcinogens into the environment. 21. (Paragraph 128) Since many people may find paradoxical the notion that a large number of good things can add up to a bad thing, we will illustrate with an analogy. Suppose Mr. A is playing chess with Mr. B. Mr. C, a Grand Master, is looking over Mr. A's shoulder. Mr. A of course wants to win his game, so if Mr. C points out a good move for him to make, he is doing Mr. A a favor. But suppose now that Mr. C tells Mr. A how to make ALL of his moves. In each particular instance he does Mr. A a favor by showing him his best move, but by making ALL of his moves for him he spoils the game, since there is not point in Mr. A's playing the game at all if someone else makes all his moves. The situation of modern man is analogous to that of Mr. A. The system makes an individual's life easier for him in innumerable ways, but in doing so it deprives him of control over his own fate. 22. (Paragraph 137) Here we are considering only the conflict of values within the mainstream. For the sake of simplicity we leave out of the picture "outsider" values like the idea that wild nature is more important than human economic welfare. 23. (Paragraph 137) Self-interest is not necessarily MATERIAL self-interest. It can consist in fulfillment of some psychological need, for example, by promoting one's own ideology or religion. 24. (Paragraph 139) A qualification: It is in the interest of the system to permit a certain prescribed degree of freedom in some areas. For example, economic freedom (with suitable limitations and restraints) has proved effective in promoting economic growth. But only planned, circumscribed, limited freedom is in the interest of the system. The individual must always be kept on a leash, even if the leash is sometimes long( see paragraphs 94, 97). 25. (Paragraph 143) We don't mean to suggest that the efficiency or the potential for survival of a society has always been inversely proportional to the amount of pressure or discomfort to which the society subjects people. That is certainly not the case. There is good reason to believe that many primitive societies subjected people to less pressure than the European society did, but European society proved far more efficient than any primitive society and always won out in conflicts with such societies because of the advantages conferred by technology. 26. (Paragraph 147) If you think that more effective law enforcement is unequivocally good because it suppresses crime, then remember that crime as defined by the system is not necessarily what YOU would call crime. Today, smoking marijuana is a "crime," and, in some places in the U.S.., so is possession of ANY firearm, registered or not, may be made a crime, and the same thing may happen with disapproved methods of child-rearing, such as spanking. In some countries, expression of dissident political opinions is a crime, and there is no certainty that this will never happen in the U.S., since no constitution or political system lasts forever. If a society needs a large, powerful law enforcement establishment, then there is something gravely wrong with that society; it must be subjecting people to severe pressures if so many refuse to follow the rules, or follow them only because forced. Many societies in the past have gotten by with little or no formal law-enforcement. 27. (Paragraph 151) To be sure, past societies have had means of influencing behavior, but these have been primitive and of low effectiveness compared with the technological means that are now being developed. 28. (Paragraph 152) However, some psychologists have publicly expressed opinions indicating their contempt for human freedom. And the mathematician Claude Shannon was quoted in Omni (August 1987) as saying, "I visualize a time when we will be to robots what dogs are to humans, and I'm rooting for the machines." 29. (Paragraph 154) This is no science fiction! After writing paragraph 154 we came across an article in Scientific American according to which scientists are actively developing techniques for identifying possible future criminals and for treating them by a combination of biological and psychological means. Some scientists advocate compulsory application of the treatment, which may be available in the near future. (See "Seeking the Criminal Element", by W. Wayt Gibbs, Scientific American, March 1995.) Maybe you think this is OK because the treatment would be applied to those who might become drunk drivers (they endanger human life too), then perhaps to peel who spank their children, then to environmentalists who sabotage logging equipment, eventually to anyone whose behavior is inconvenient for the system. 30. (Paragraph 184) A further advantage of nature as a counter-ideal to technology is that, in many people, nature inspires the kind of reverence that is associated with religion, so that nature could perhaps be idealized on a religious basis. It is true that in many societies religion has served as a support and justification for the established order, but it is also true that religion has often provided a basis for rebellion. Thus it may be useful to introduce a religious element into the rebellion against technology, the more so because Western society today has no strong religious foundation. Religion, nowadays either is used as cheap and transparent support for narrow, short-sighted selfishness (some conservatives use it this way), or even is cynically exploited to make easy money (by many evangelists), or has degenerated into crude irrationalism (fundamentalist Protestant sects, "cults"), or is simply stagnant (Catholicism, main-line Protestantism). The nearest thing to a strong, widespread, dynamic religion that the West has seen in recent times has been the quasi-religion of leftism, but leftism today is fragmented and has no clear, unified inspiring goal. Thus there is a religious vaccuum in our society that could perhaps be filled by a religion focused on nature in opposition to technology. But it would be a mistake to try to concoct artificially a religion to fill this role. Such an invented religion would probably be a failure. Take the "Gaia" religion for example. Do its adherents REALLY believe in it or are they just play-acting? If they are just play-acting their religion will be a flop in the end. It is probably best not to try to introduce religion into the conflict of nature vs. technology unless you REALLY believe in that religion yourself and find that it arouses a deep, strong, genuine response in many other people. 31. (Paragraph 189) Assuming that such a final push occurs. Conceivably the industrial system might be eliminated in a somewhat gradual or piecemeal fashion. (see paragraphs 4, 167 and Note 4). 32. (Paragraph 193) It is even conceivable (remotely) that the revolution might consist only of a massive change of attitudes toward technology resulting in a relatively gradual and painless disintegration of the industrial system. But if this happens we'll be very lucky. It's far more probably that the transition to a nontechnological society will be very difficult and full of conflicts and disasters. 33. (Paragraph 195) The economic and technological structure of a society are far more important than its political structure in determining the way the average man lives (see paragraphs 95, 119 and Notes 16, 18). 34. (Paragraph 215) This statement refers to our particular brand of anarchism. A wide variety of social attitudes have been called "anarchist," and it may be that many who consider themselves anarchists would not accept our statement of paragraph 215. It should be noted, by the way, that there is a nonviolent anarchist movement whose members probably would not accept FC as anarchist and certainly would not approve of FC's violent methods. 35. (Paragraph 219) Many leftists are motivated also by hostility, but the hostility probably results in part from a frustrated need for power. 36. (Paragraph 229) It is important to understand that we mean someone who sympathizes with these MOVEMENTS as they exist today in our society. One who believes that women, homosexuals, etc., should have equal rights is not necessarily a leftist. The feminist, gay rights, etc., movements that exist in our society have the particular ideological tone that characterizes leftism, and if one believes, for example, that women should have equal rights it does not necessarily follow that one must sympathize with the feminist movement as it exists today. If copyright problems make it impossible for this long quotation to be printed, then please change Note 16 to read as follows: 16. (Paragraph 95) When the American colonies were under British rule there were fewer and less effective legal guarantees of freedom than there were after the American Constitution went into effect, yet there was more personal freedom in pre-industrial America, both before and after the War of Independence, than there was after the Industrial Revolution took hold in this country. In "Violence in America: Historical and Comparative Perspectives," edited by Hugh Davis Graham and Ted Robert Gurr, Chapter 12 by Roger Lane, it is explained how in pre-industrial America the average person had greater independence and autonomy than he does today, and how the process of industrialization necessarily led to the restriction of personal freedom. http://javierarce.net/parckett daily 0.75 2013-09-23 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374230182658-A4XRWNBU89ZXXXXA1Z79/Parkett_%28Ahtila%29.jpg Parkett. Serie Parkett (Ahtila), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Ahtila), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374230182658-A4XRWNBU89ZXXXXA1Z79/Parkett_%28Ahtila%29.jpg Parkett. Serie Parkett (Ahtila), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Ahtila), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374230201862-28C7U13PJJQC18BXWPB9/Parkett_%28Anderson%29.jpg Parkett. Serie Parkett (Anderson), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Anderson), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374230222524-N76YK9VPMZ475JY4M7EI/Parkett_%28Bock%29.jpg Parkett. Serie Parkett (Bock), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Bock), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374230242003-P2SS2W6URRSJCVFM247Q/Parkett_%28Bulloch%29.jpg Parkett. Serie Parkett (Bulloch), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Bulloch), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374230262378-QWHD1B10PH498HO1MMZD/Parkett_%28Buren%29.jpg Parkett. Serie Parkett (Buren), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Buren), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374230281834-TMP8UCRNZT5IRRGCPAZZ/Parkett_%28Dean%29.jpg Parkett. Serie Parkett (Dean), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Dean), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231055457-ZO4ZJLAV20XMW0SJI2QS/Parkett_%28Genzken%29.jpg Parkett. Serie Parkett (Genzken), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Genzken), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231078459-FVPV8YTPZZRQCB23Y0NL/Parkett_%28Graham%29.jpg Parkett. Serie Parkett (Graham), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Graham), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231098421-AL4GZNP5NSJ4M5N5YCOM/Parkett_%28Koons%29.jpg Parkett. Serie Parkett (Koons), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Koons), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231152530-48NQSE96OIH6P6Y20TE4/Parkett_%28Marclay%29.jpg Parkett. Serie Parkett (Marclay), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Marclay), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231176107-KOZOWR2JJMI8I9N5I1PF/Parkett_%28Morris%29.jpg Parkett. Serie Parkett (Morris), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Morris), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231197791-UYCDSI29M82J8KBPNKJA/Parkett_%28Ritchie%29.jpg Parkett. Serie Parkett (Ritchie), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Ritchie), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231219735-CYBZE5G7S2JGEXV1WY3B/Parkett_%28Sasnal%29.jpg Parkett. Serie Parkett (Sasnal), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Sasnal), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231238771-MYUQ579F6EZGR9QZ956I/Parkett_%28Signer%29.jpg Parkett. Serie Parkett (Signer), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Signer), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231296071-T13MZYZH7FBBQCAUDCCV/Parkett_%28Tiravanija%29.jpg Parkett. Serie Parkett (Tiravanija), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Tiravanija), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231324030-AX34LSVUI8BMPXYAG4L8/Parkett_%28Tuymans%29.jpg Parkett. Serie Parkett (Tuymans), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Tuymans), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231352942-ZFRLHM216EMGQRQSC4NM/Parkett_%28Wearing%29.jpg Parkett. Serie Parkett (Wearing), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Wearing), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231386146-XPAKVWBPC6IA7LLQTZX0/Parkett_%28Wesley%29.jpg Parkett. Serie Parkett (Wesley), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (Wesley), 2006. Dibujo Técnica mixta. 44 x 44 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1374231408538-K6J8S95SPZCP9PDGCODC/Parkett_%28West%29.jpg Parkett. Serie Parkett (West), 2006. Drawing mixed technique. 44 x 44 cm. Serie Parkett (West), 2006. Dibujo Técnica mixta. 44 x 44 cm. http://javierarce.net/updatesnews daily 0.75 2025-07-16 http://javierarce.net/updatesnews/2013/9/16/javier-arce monthly 0.5 2023-05-17 http://javierarce.net/content-exploration daily 0.75 2019-03-25 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370084086784-IS1ZM0OJ6UFK11AF8UF6/1.KILL-LIES-ALL-NY.jpg Kill Lies All. The return of Guernica to Spain, 2012. Charcoal drawing on wall. 350x800 cm.Exhibition Kill lies all, Newman Popiashvili Gallery, New York. La vuelta del Guernica a España, 2012. Dibujo mural en carbón, 2012. Exposición Kill Lies All, Galeria Newman Popiashvili, New York. On April 26, 1937, German bombers destroyed the Basque village of Guernica, killing thousands of people, a horror immortalized by Picasso in what may be the most famous political work of modern times. Arce, a Spaniard making his New York solo début, grapples with the devolution of that masterpiece into a symbol in a group of engravings, a mural, and a sculpture, which document its fraught history. (The show takes its title, “Kill All Lies,” from the phrase that Tony Shafrazi spray-painted on the canvas, at MOMA in 1974.) The only work in which Arce offers a glimpse of the image itself is a large drawing—a one-to-one scale reproduction— which lies in a crumpled mess on the floor, reinforcing the idea that the painting’s travails now overshadow the event it was conceived to commemorate. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370084086784-IS1ZM0OJ6UFK11AF8UF6/1.KILL-LIES-ALL-NY.jpg Kill Lies All. The return of Guernica to Spain, 2012. Charcoal drawing on wall. 350x800 cm.Exhibition Kill lies all, Newman Popiashvili Gallery, New York. La vuelta del Guernica a España, 2012. Dibujo mural en carbón, 2012. Exposición Kill Lies All, Galeria Newman Popiashvili, New York. On April 26, 1937, German bombers destroyed the Basque village of Guernica, killing thousands of people, a horror immortalized by Picasso in what may be the most famous political work of modern times. Arce, a Spaniard making his New York solo début, grapples with the devolution of that masterpiece into a symbol in a group of engravings, a mural, and a sculpture, which document its fraught history. (The show takes its title, “Kill All Lies,” from the phrase that Tony Shafrazi spray-painted on the canvas, at MOMA in 1974.) The only work in which Arce offers a glimpse of the image itself is a large drawing—a one-to-one scale reproduction— which lies in a crumpled mess on the floor, reinforcing the idea that the painting’s travails now overshadow the event it was conceived to commemorate. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370083109118-RKQ4GVBI09XAYXOUE5NC/9.the-return-of-guernica-to-madrid.jpg Kill Lies All. The return of Guernica to Spain, 2012. Charcoal drawing on wall. 350x800 cm.Exhibition Kill lies all, Max Estrella Gallery. Madrid. La vuelta del Guernica a España, 2012. Dibujo mural en carbón, 2012. Exposición Kill Lies All, Galeria Max Estrella. Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370083122568-0KWX6T5I0P6ZMP9Q0LRU/10.The-retirn-of-guernica-to-madrid_detalle.jpg Kill Lies All. Detail of The return of Guernica to Spain, 2012. Charcoal drawing on wall. 350x800 cm.Exhibition Kill lies all, Max Estrella Gallery. Madrid. Detalle La vuelta del Guernica a España, 2012. Dibujo mural en carbón, 2012. Exposición Kill Lies All, Galeria Max Estrella. Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1366305662442-F782VZZFKO268GZN1F7D/2.KILL+LIES+ALL-low.jpg Kill Lies All. Kill Lies all. Installation view Newman Popiashvili Gallery, New York . Kill lies all. Vista de la instalación Galería Newman Popiashvili, New York. The show title comes from the phrase spray-painted on Guernica by Tony Shafrazi in 1974. This show includes a wall-sized mural,engravings, and sculpture based on various images concerning Guernica. Arce continues his practice of working with image appropriation and historical referencing. In Kill Lies All he concentrates on one work–Picasso’s Guernica and the history surrounding it. The mural on the gallery wall is based on the image published in the Spanish press in 1981 showing the moment in which Guernica arrives back in Madrid from New York. Though we are constantly aware of Guernica’s presence, it is never revealed or visibly reproduced in any of the works in the exhibition. The drawing of Guernica, made to scale, is crumpled up and placed on the gallery floor. The large scale piece functions as a sculpture, again concealing the actual image of the painting. The visible parts of the drawing, which is made with a ball point pen, appear almost as an etching. By asking us to stand and look at a transformed copy of an original work, Arce forces us to examine the contradictions and parallels between high culture and popular culture by turning something so far removed from the everyday world into something conventional and attainable. Arce blurs the boundaries between elite culture and mass culture. He bridges the gap between art and life and questions tradition, modernity and convention. Working with the image of Shafrazi being arrested shortly after defacing Guernica, Arce underlines the connection between the pretext for sending the painting to Spain. The location of the painting at MoMA was proven to be unsafe and thus gave Spain further justification for its place in Madrid. Alongside the mural Arce shows a series of engravings made in the drypoint technique, displayed in the Military sculpture-box and on the gallery wall. The series is titled _Removal Assignments_–showing documentary images of the bombing of the city of Guernica, that are presented it in such a way that only traces of smoke, and not any recognizable landmarks are apparent. Although it is an image of a specific historical event, it could be equally applied to any act of violence regardless of geographical location or time period. During the opening reception the artist will print some leaflets, using a manual Minerva-Adana printer, with two different accounts of destruction of the city of Guernica. One is by George Steer and the second one by James Holburn. Both were reporters for The London Times and were covering the events of April 1937, although their articles tell very different stories. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1366305706787-SZIFXC4UREQSZ1HL1V75/3.KILL+LIES+ALL-low.jpg Kill Lies All. Serie Estrujados (Guernica XXL), 2010. Felt-tip pen on indestructible paper, trash bag and carton box. 350 x 778 cm.Crumple version. Serie Estrujados (Guernica XXL), 2010. Rotulador sobre papel irrompible, bolsa de basura y caja de cartón. 350 x 778 cm. Versión arrugada. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1366305743191-GK9M30BYEIUHCRB6D98T/4.KILL+LIES+ALL-low.jpg Kill Lies All. Kill Lies all. Installation view Newman Popiashvili Gallery. Kill Lies all. Vista de la instalación Galería Newman Popiashvili. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370082370321-Z25J1QLZGO63UHHSCKRJ/4.vista-general.jpg Kill Lies All. Kill Lies all. Installation view Max Estrella Gallery. Kill Lies all. Vista de la instalación Galería Max Estrella. Kill Lies All, cuyo título hace referencia al graffiti que hizo Toni Shafrazi en El Guernica cuando estaba ubicado en el MoMA de Nueva York en 1974. Arce continúa su práctica de trabajar con la apropiación de la imagen y referencia histórica. En Kill Lies All se concentra en una sola obra, El Guernica de Picasso y la historia que rodea su imagen. Por medio de historias, digresiones, extensiones y paralelismos, Arce examina diferentes temas: los usos y abusos de poder, la guerra, cultura Vasca, el sugestivo poder de la ausencia, imagen y realidad, imagen y sus diferentes interpretaciones históricas y los procesos de banalizacion de imágenes emblemáticas. La muestra incluye un mural, dibujos, grabados y esculturas, aunque podamos ser constantemente conscientes de la presencia de El Guernica, nunca es revelado o reproducido explícitamente en ninguna de las obras de la exposición. El mural, obra efímera realizada directamente con carboncillo en la pared de la galería, muestra el momento en que El Guernica llega a Madrid desde Nueva York. La imagen fue una de tantas publicada en la prensa española en 1981. Arce realiza el dibujo en la galería en positivo, del mismo modo pero invertida al negativo que hizo el pasado mes de Septiembre en la Galería Newman&Popiasvhili de Nueva York. Creando un doble eje de significado haciendo eco con este gesto el viaje realizado por el propio cuadro. Este juego de negativo y positivo se repite nuevamente en dos dibujos sobre Toni Shafrazi. Under arrest (2012) y Guernica´s cake (2012). Arce nos muestra por medio de este díptico dos caras del hombre, una es el momento en el que Shafrazi (artista) es detenido por la policía de Nueva York tras el ataque al icono español en el MoMA como protesta por la masacre de My Lai en Vietnam, y la segunda parte de la obra muestra al Shafrazi (galerista) celebrando su cuarenta aniversario como galerista con un pastel en el que la imagen de El Guernica ha sido borrada y solamente se puede leer “I am not sorry”. A la vez el artista presenta la escultura Track Record Guernica (2012), compuesta por 12 grabados a punta seca resguardados en una caja de aluminio de uso militar. Se comporta como un objeto autónomo en el que las imágenes son modificadas no a través de la suma sino a través de una sustracción, de un vaciado selectivo de partes de su contenido, y es el grupo como un todo el que problematiza la activad de referencia. Hay un constante juego entre el blanco y el negro, entre oscuridad y claridad. El artista genera un juego mimético al estilo de las imágenes producidas por procesos de impresión y fotográficos. Durante la inauguración el artista imprimirá octavillas, utilizando una imprenta manual Minerva-Adana, con ello simboliza la revolución y la crisis tecnológica en la producción de imágenes de la que habla McLuhan en La Galaxia Guttenberg. Arce opta por reimprimir, reproducir y reciclar textos e imágenes de la prensa. Para esta exposición elige dos fragmentos de reportajes del año 1937 que relatan dos versiones muy diferentes sobre la destrucción de la ciudad de Guernica: uno de George Steer y otro de James Holburn, ambos reporteros del periódico The Times. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370082512107-DEZSI9GNPCJK92EK28HZ/5.Minerva+Sculpture.jpg Kill Lies All. Minerva Adana Printer, iron base and The Times and Azul newspapers flyers. Imprenta de palanca Minerva Adana, peana de hierro y octavillas de The Times y Azul impresas en papel de periodico. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379439808921-MQT13PQZZ3E4T3T9JI84/Sin-ti%CC%81tulo-5.jpg Kill Lies All. Flyers extract from The Times newspaper and The Azul newspaper. Print on newspaper with Minerva Adana Printer. Octavillas extraidas de The Times y Azul impresas en papel de periodico con una imprenta Minerva Adana . https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370083083265-XYS39OJWLJHAFDN1UK1J/8.matriz-times-y-azul.jpg Kill Lies All. Mould of The Tmes newspaper and The Azul newspaper. Molde de impresion de los periodicos The Times y El Azul. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379440258476-ZTC3054J2TZO24QPJR6E/Sin-ti%CC%81tulo-7.jpg Kill Lies All. Flyer extract from The Azul newspaper. Print on newspaper with Minerva Adana Printer. Octavilla extraida del periodico Azul. Impresion sobre papel de periodico Imprenta Minerva Adana. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379440140545-5E1S90K9TWKGKE1789LJ/Sin-ti%CC%81tulo-6.jpg Kill Lies All. Flyer extract from The Timesnewspaper. Print on newspaper with Minerva Adana Printer. Octavilla extraida del periodico The Times. Impresion sobre papel de periodico Imprenta Minerva Adana https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379440459695-S9V4MNKZ7R7UDLJKC0US/Sin-ti%CC%81tulo-8.jpg Kill Lies All. Tony Safrazzi, Under arrest (Positive version), 2012. Propelling pencil on newspaper, 60 x 80 cm. Tony Safrazzi, arrestado (Versión positiva), 2012. Dibujo lápiz sobre papel de periodico, 60 x 80 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379440684915-EYGVJRJFB5H8WJQ45GZF/Sin-ti%CC%81tulo-9.jpg Kill Lies All. Tony Safrazzi, Under arrest (Negative version), 2012. Propelling pencil on newspaper, 60 x 80 cm. Tony Safrazzi, arrestado (Versión negativa), 2012. Dibujo lápiz sobre papel de periodico, 60 x 80 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379440848313-F8J2MMS5QRTB9BFZC2OO/Sin-ti%CC%81tulo-10.jpg Kill Lies All. Tony Safrazzi. Guernica´s Cake (Positive version), 2012. Propelling pencil on newspaper, 60 x 80 cm. Tony Safrazzi, tarta con Guernica (Versión positiva), 2012. Dibujo lápiz sobre papel de periódico, 60 x 80 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379495310056-X9CK0X9WUYVW9QX0XDM0/Sin-ti%CC%81tulo-11.jpg Kill Lies All. Tony Safrazzi. Guernica´s Cake (Negative version), 2012. Propelling pencil on newspaper, 60 x 80 cm. Tony Safrazzi, tarta con Guernica (Versión negativa), 2012. Dibujo lápiz sobre papel de periodico, 60 x 80 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370083388637-0NFL18HOIO0PI28478H4/13.vista-general.jpg Kill Lies All. Kill Lies all. Installation view Max Estrella Gallery . Kill Lies all. Vista de la instalación en la Galería Max Estrella. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370083402656-WYTLYZD8EK6TJKIVAST6/14.la-voix-du%CC%81n-mort-accuse-la-presse-qui-ment.jpg Kill Lies All. La voix d´un mort accuse la presse qui ment, 2012. Propelling pencil on newspaper, 70 x 90 cm. La voix d´un mort accuse la presse qui ment, 2012. DIbujo de lápiz sobre papel de periódico, 70 x 90 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379495445732-XA1BPUONQTQX5Y6DHUZR/Sin-ti%CC%81tulo-12.jpg Kill Lies All. Track record Guernica, 2012. Military case. 12 Dry points, 1/3, 120x60x70 cm. Track record Guernica, 2012. Caja militar y 12 grabados punta seca, 1/3, 120x60x70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370085628616-PH13ZQ71TF1H885U4BCG/1.Cromlech-in-Basque-Country-spirit-of-the-culture-and-language.jpg Kill Lies All. Cromlechs in Oyarzun (Guipúzcua), 2012. Drypoint print, 1/9, 39x46,5 cm. Cromlechs en Oyarzun (Guipúzcua), 2012. Punta seca, 1/9. 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370085384130-25W7SBCCUAGYGRXM8BIR/10.Incendiary-bombs-are-dropped-against-a-civilian-population-for-the-first-time.-Guernica.jpg Kill Lies All. Incendiary bombs are dropped againnst a civilian population for the first time. Gernika 26 of April 1937, 2012. Drypoint print, 1/9, 39x46,5 cm. Por primera vez se arrojan bombas incendiarias contra una población civil, Gernika 26 de Abril de 1937, Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370086892114-TAFKPN0KEP9BZLEQ1SA1/2.Around-the-Reina-Soria-Museum.jpg Kill Lies All. Line around the Reina Sofia Museum in Madrid, 2012. Drypoint print, 1/9, 39x46,5 cm. Cola en el Museo Reina Sofia de Madrid, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370086922261-71NQFU91UVL7QOPC4C0L/6.Pablito-scaning-Guernica.jpg Kill Lies All. "Pablito" scaning Guernica, 2012. Drypoint print, 1/9, 39x46,5 cm. "Pablito" escaneando el Guernica, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379495667598-WHIIZNJAX78U94PWQ4NS/Sin-ti%CC%81tulo-13.jpg Kill Lies All. Somebody painted Guernica in the foundations of the Guggenheim Bilbao, 2012. Drypoint print, 1/9, 39x46,5 cm. Alguien pintó el Guernica en los cimientos del Guggenheim Bilbao cuando estaban construyendo el museo, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370087157773-HKNMEHB950XWWSBN8NT6/8.The-return-of-guernica-to-spain.jpg Kill Lies All. Return of Guernica to Spain, Madrid 10 September 1981, 2012. Drypoint print, 1/9, 39x46,5 cm. Llegada del Guernica a España, Madrid 10 de Septiembre 1981, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370087438367-Z07MBBSIX2R2YKB29ZKY/9.Woman-with-an-axe-%28cutting-Guernica-tree.jpg Kill Lies All. (Mujer con hacha, 1874), with the motto "if the famous tree of GUernica bears this fruit, we will not let it bud again". This image comes from one of the ilustrated newspapers of the time, such la Flaca, a Carcajada or La Madeja Politica, where day-to-day life its stresses, strains and pains - collpsed under caricature, common in Spain between the period od the Sexenio Revolucionario (1868-1874) and that of the Second Carlist War (1872-1876), 2012. Drypoint print, 1/9, 39x46,5 cm. Mujer con hacha, 1874) , con su lema"si el famoso árbol de Gernika da esta fruta, no la dejaremos brotar de nuevo". Esta imagen procede de uno de los periódicos ilustrados de la época como La flaca, La carcajada o La madeja política, donde la vida diaria -sus tensiones, presiones y penas- se ven reflejadas en caricaturas, algo común en España entre el periódo del Sexenio revolucionario (!868-1874) y el de la Segunda Guerra Carlista (1872-1876), 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370087501386-L5DMYX0JCDSWPKM07JCK/12.bar-Antiguo-Bilbao.jpg Kill Lies All. Bilbao´s bar, 2012. Drypoint print, 1/9, 39x46,5 cm. Bar en Bilbao, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379495843373-WNYMJ7PLKHW2JN7ZSX6M/Sin-ti%CC%81tulo-14.jpg Kill Lies All. Incendiary and white phosphorus weapons used in Fallujah, Irak, 2012. Drypoint print, 1/9, 39x46,5 cm. Bombas incendiarias y de fosforo blanco utilizadas en Fallujah, Irak, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370100843412-6B190X35NSK3BD6BRY16/3.Art-Workers%C2%B4s-Coalition-staged-a-protest-at-MOMA.jpg Kill Lies All. Art Worker´s Coalition staged a protest at MOMA, 1970, 2012. Drypoint print, 1/9, 39x46,5 cm. Art Worker´s Coalition protestando en el MOMA, 1970, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379496010857-PZ4F7GMS7IQQSVLG8ZLT/Sin-ti%CC%81tulo-15.jpg Kill Lies All. Lebanese prisioners in the Haradem prision in Central Israel, 2012. Drypoint print, 1/9, 39x46,5 cm. Prisioneros Libaneses en la prisión Haraden en Israel, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370100890533-V70R5ZLCILX1713SKG4V/11.Tapestry.jpg Kill Lies All. Tapestry version of uernica in the United nations has been covered over because Collin Powell is giving a briefing to the pres about the War in Iraq where literallly much was being covered up, 2012. Drypoint print, 1/9, 39x46,5 cm. La versión tapiz del Guernica en las Naciones Unidas se ha tapado porque Collin Powell da una rueda de prensa sobre el inmienete ataque a Irak, 2012. Punta seca, 1/9, 39x46,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392383788025-1BQ6KPJ7C2GY4N3HS1QG/Javi-Arce---Kill-Lies-All_v1.jpg Kill Lies All. Fanzine Kill lies all.  https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370187804890-0C8ME1UW6LDQ8XTRQDG9/02.jpg Kill Lies All. Fanzine Kill lies all.  https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370187819119-QKRMWMMHV6ETAEARA9AU/03.jpg Kill Lies All. Fanzine Kill lies all.  https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388484890861-3UZI1CW6W5D4K77VNSGK/javier-arce-0.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388483944916-J7ER56DN8WXO2WC8QCMB/javier-arce-1.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388483984546-D9H7NQ1G8PX28Q9S3BLS/javier-arce-2.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388484749353-Y5443K8ZGJWPUMJ8XLAE/javier-arce-4.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388484048210-DR9S29LVQAYQSR32Z1EJ/javier-arce-5.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388484131799-JSBZR4CZH8B33PIF05C5/javier-arce-8.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388484079327-TBRNKV8TN31EC4IOAH38/javier-arce-6.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388485083251-HPOFQI6JWRFUZ9NF6F5P/javier-arce-7.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388484183920-YHXOKVYCY33PPKI6FW1P/javier-arce-9.jpg Kill Lies All. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1388484632000-9NKIA7RH2UDZW84LL899/javier-arce-10.jpg Kill Lies All. http://javierarce.net/neue-berlin daily 0.75 2013-09-18 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371466041552-H374978X5A8U3ZNKB4LK/19.jpg Serie Estrujados. Serie estrujados (GUERNICA - XL), 2007. Felt-tip pen on indestructible paper, trash bag and carton box. 350 X 778 cm. Serie estrujados (GUERNICA - XL), 2007. Rotulador sobre papel irrompible, bolsa de basura y caja de cartón. 350 X 778 cm. The "Serie Estrujados" reflects upon the significance of the great works of art (The Meninas, Guernica, Anatomy lesson ...) which are artistic icons. These images have been reproduced in such great number that they have become "dispensable" objects. Following this line of thought, I Have redrawn them on indestructible paper, crumpled them up only to recover them later. In this sense, it is interesting to point out the way in which the drawing is resolved, painted with felt-tip pen on crumpled up paper, with the aesthetics of a photocopy. Its aim is to run away, to disassociate art from any confusion with the decorative. Evidently, it ironically imitates one of the strategies of the vanguard, which consists of avoiding the craft-man-ship, the virtuosity, good materials and the perfect finish to distance itself from publicity, design, decoration and fashion, which paradoxically sum up the refinements that great Art abandoned. La Serie Estrujados reflexiona sobre el significado de las grandes obras de arte (Las Meninas, El Guernica, Lección de anatomía) que son iconos artísticos. Estas imágenes que han sido tan reproducidas se han convertido en productos de "usar y tirar". Así los he redibujado sobre papel irrompible y con rotulador para después estrujarlos y finalmente recuperarlos. En este sentido, es interesante señalar la manera en que el dibujo está resuelto, pintado a rotulador sobre el papel, con una estética de fotocopia. mi propósito es huir de la factura relamida y acabada que se asocia al ornamento como un modo de disociar el arte de cualquier confusión con lo decorativo. Evidentemente, con ello estoy imitando irónicamente una de las estrategias de la vanguardia, que consistió en evitar el oficio, el virtuosismo, los buenos materiales, el perfecto acabado para distanciarse de la publicidad, el diseño, la decoración o la moda, que asumieron paradójicamente los refinamientos que había abandonado el gran Arte. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371466041552-H374978X5A8U3ZNKB4LK/19.jpg Serie Estrujados. Serie estrujados (GUERNICA - XL), 2007. Felt-tip pen on indestructible paper, trash bag and carton box. 350 X 778 cm. Serie estrujados (GUERNICA - XL), 2007. Rotulador sobre papel irrompible, bolsa de basura y caja de cartón. 350 X 778 cm. The "Serie Estrujados" reflects upon the significance of the great works of art (The Meninas, Guernica, Anatomy lesson ...) which are artistic icons. These images have been reproduced in such great number that they have become "dispensable" objects. Following this line of thought, I Have redrawn them on indestructible paper, crumpled them up only to recover them later. In this sense, it is interesting to point out the way in which the drawing is resolved, painted with felt-tip pen on crumpled up paper, with the aesthetics of a photocopy. Its aim is to run away, to disassociate art from any confusion with the decorative. Evidently, it ironically imitates one of the strategies of the vanguard, which consists of avoiding the craft-man-ship, the virtuosity, good materials and the perfect finish to distance itself from publicity, design, decoration and fashion, which paradoxically sum up the refinements that great Art abandoned. La Serie Estrujados reflexiona sobre el significado de las grandes obras de arte (Las Meninas, El Guernica, Lección de anatomía) que son iconos artísticos. Estas imágenes que han sido tan reproducidas se han convertido en productos de "usar y tirar". Así los he redibujado sobre papel irrompible y con rotulador para después estrujarlos y finalmente recuperarlos. En este sentido, es interesante señalar la manera en que el dibujo está resuelto, pintado a rotulador sobre el papel, con una estética de fotocopia. mi propósito es huir de la factura relamida y acabada que se asocia al ornamento como un modo de disociar el arte de cualquier confusión con lo decorativo. Evidentemente, con ello estoy imitando irónicamente una de las estrategias de la vanguardia, que consistió en evitar el oficio, el virtuosismo, los buenos materiales, el perfecto acabado para distanciarse de la publicidad, el diseño, la decoración o la moda, que asumieron paradójicamente los refinamientos que había abandonado el gran Arte. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379353410231-5TUHFBIO4NEW0OQZDUHZ/Pages-from-portfolio-2011-2006.jpg Serie Estrujados. Detail of Serie estrujados (GUERNICA - XL), 2007. Felt-tip pen on indestructible paper, trash bag and carton box. 350 X 778 cm. Detalle Serie estrujados (GUERNICA - XL), 2007. Rotulador sobre papel irrompible, bolsa de basura y caja de cartón. 350 X 778 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371466017457-L7TYXLLEUYMTK4LBNKQS/18.jpg Serie Estrujados. Crumple version. Serie estrujados (GUERNICA - XL), 2007. Felt-tip pen on indestructible paper, trash bag and carton box. 350 X 778 cm. Versión arrugada. Serie estrujados (GUERNICA - XL), 2007. Rotulador sobre papel irrompible, bolsa de basura y caja de cartón. 350 X 778 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371466001676-BIMIIUPRM6NVC668T80B/17.jpg Serie Estrujados. Mode of presentation and transport of "Serie estrujados" . Trash bag and carton box. Modo de presentación y transporte de la Serie Estrujados. Bolsa de basura y caja de cartón. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371469147834-TDKHGFZOYI4P01HGAIUD/3.jpg Serie Estrujados. Assembly of Serie estrujados (El origen del mundo-XL), 2007. Felt-tip pen on indestructible paper, trash bag and carton box. 300 x 350 cm. Montaje del dibujo Serie estrujados (El origen del mundo-XL), 2007. Rotulador sobre papel irrompible, bolsa de basura y caja de carton, 300 x 350 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371480333001-STDFKA7T4Z4UK9N5KCQY/9.jpg Serie Estrujados. Serie estrujados (El origen del mundo-XL), 2007. Felt-tip pen on indestructible paper, trash bag and carton box. 300 x 350 cm. Serie Estrujados (El origen del mundo-XL), 2007. Rotulador sobre papel irrompible, bolsa de basura y caja de cartón, 300 x 350 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371480720472-0NN7B6AVTGSJWYK7YY9N/12.jpg Serie Estrujados. Proyecto. ABCD: 300. 000 fusilamientos. ¿quien no ha recortado alguna vez de un periódico o revista un artículo, una fotografía o ona receta de cocina? para el proyecto abcd, quiero dar la oportunidad a todos los lectores del diario abc de coleccionar, recortar - a modo de regalo, siguiendo de esta manera el sin fin de colecciones que aparecen en diversos medios periodísticos de nuesto país- arrugar y hacer uso libre y desenvuelto de la reproducción del dibujo fusilamientos perteneciente a la serie estrujados. dicha serie está conformada por un grupo de dibujos en los que reproduzco ilimitadamente grandes iconos de la Historia del arte: El guernica, las meninas o la libertad guiando al pueblo reinterpretándolos con una estética de fotocopia defectuosa, pero que resutan ser obras manufacturadas y realizadas sobre papel irrompible con rotulador, que luego arrugo convirtiéndolas en bolas de papel que , a su vez, meto en una bolsa de plástico y embalo en una caja de cartón a modo de mercancía industrial. Con la obra 300.000 fusilamientos doy la oportunidad al lector de que, a modo de artista, repita mi gesto con los dibujos de la serie estrujados y convierta esta imagen repetida en una obra única y de multiples utilidades. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371491295285-F7GJCIFV2IKIDUYOXDRA/24.jpg Serie Estrujados. Detail of Serie estrujados (Los fusilamientos del 3 de mayo - XL), 2007. Felt-tip pen on indestructible paper. 400 x 450 cm. Detalle Serie estrujados (los fusilamientos del 3 de Mayo - XL), 2007. rotulador sobre papel irrompible. 400 x 450 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371480518711-D9ZYT84V16Y97HP9PF1C/10.jpg Serie Estrujados. Serie estrujados (Los fusilamientos del 3 de mayo - XL), 2007. Felt-tip pen on indestructible paper. 400 x 450 cm. Serie estrujados (los fusilamientos del 3 de Mayo - XL), 2007. rotulador sobre papel irrompible. 400 x 450 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371465985945-1TTVQXZIWF7G7RFYRFV0/15.jpg Serie Estrujados. View of the instalation "El ornamento de las masas: rojo, blanco y azul". Espai 13, Fundació Miró, Barcelona. 600 drawings of Serie estrujados (Brillo Box), 2008. 5 DVD Serie Abandonados. Vista de la instalación "el ornamento de las masas: rojo, blanco y azul". espai 13, Fundació Miró. Barcelona. 600 dibujos de la Serie estrujados (Brillo Box), 2008. 5 proyecciones de la Serie abandonados. The Joan Miró Foundation presents "The ornament of the masses: red, white, blue", an exhibition by Javier Arce as part of The 24 steps programme dedicated to Joan Miró and his leading role in the field of contemporary art, on the occasion of the twenty-fifth anniversary of his death on 25 December 1983. Javier Arce (Santander, 1973) explores the frontiers of art in search of the limits that define its nature. He tries to extend these limits into the territories in which Art with a capital A, as an expression of high culture, is contaminated by the manifestations of popular culture, while at the same time questioning the existence of these barriers, often with a touch of humour. His exhibition in the Espai 13 follows this line of analysis of the distance between the work of art and popular culture at a time when merchandising, an important feature of every museum, makes famous works of art easily available to the public at large. Arce's installation consists of two elements. The first is re-invention of Andy Warhol's installation in the Stable Gallery in New York in 1964, which turned a consumer product into a work of art: the room is filled with a mound of crumpled three-dimensional drawings of the Brillo Box, produced with a felt-tipped pen on untearable paper. Javier Arce, however, transforms the neat, clean lines of the original installation into an accumulation of art junk. The second element, Abandonment, is made up of four simultaneous screenings of a series of actions that the artist performed recently, which consist in abandoning original works of art from the Crumpled (Brillo Box) series alongside the articles on sale in the museum shops at the Museo Nacional Centro de Arte Reina Sofía in Madrid, Tate Modern in London, the Centre Georges Pompidou in Paris, and the Fundació Joan Miró in Barcelona. In this way the work of art is converted into a mere product. Su instalación para el Espai 13, El ornamento de las masas: rojo, blanco, azul sigue esa línea de análisis sobre la distancia entre la obra de arte y la cultura popular en un momento en que el merchandising, importante y presente en todos los museos, pone al alcance del público las obras más reputadas de la historia del arte. La obra consta de dos elementos. El primero recupera, reinventándola, la instalación de Andy Warhol en la Stable Gallery de Nueva York en 1964, en la cual la mercancía devenía obra de arte: la sala aparece repleta de dibujos tridimensionales que representan la Brillo Box, realizados con rotulador sobre papel irrompible y convertidos en rebujos de papel. Ahora bien, Javier Arce transforma el orden y la limpieza de la instalación original en una acumulación de desechos artísticos. El segundo, titulado Abandono, consta de cuatro proyecciones simultáneas de una serie de acciones de Javier Arce a lo largo de los últimos meses, que han consistido en "abandonar" obras de arte originales de la serie Estrujados (Brillo Box) junto a los artículos a la venta en las tiendas del Museo Nacional Centro de Arte Reina Sofía, de Madrid; de la Tate Modern, de Londres; del Centre Georges Pompidou, de París, y de la Fundació Joan Miró, de Barcelona. Revierte, así, el planteamiento de Warhol, ya que es la obra de arte la que se convierte en mercancía. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379438918055-TWQHQE7ZD1SCOC85BC4S/Sin-ti%CC%81tulo-2.jpg Serie Estrujados. View of the instalation "El ornamento de las masas: rojo, blanco y azul". Espai 13, Fundació Miró, Barcelona. 600 drawings of Serie estrujados (Brillo Box), 2008. 5 DVD Serie Abandonados. Vista de la instalación "el ornamento de las masas: rojo, blanco y azul". espai 13, Fundació Miró. Barcelona. 600 dibujos de la Serie estrujados (Brillo Box), 2008. 5 proyecciones de la Serie abandonados. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1366308229011-05ICOPCY3UD4ZURTBWSA/Serie+Estrujados+%28Brillo+Box-S%29.JPG Serie Estrujados. Proyecto Serie Estrujados (Abandonados). Desde hace varios meses llevo realizando un proyecto que consiste en abandonar dibujos originales -concretamente los dibujos de la Serie Estrujados (Brillo Box-S) en las tiendas de los grandes museos, )como el Museo y Centro de Arte Reina Sofía, Madrid. Tate Modern, Londres. Fundación Miro, Barcelona. Centro de arte George Pompidou, París o el MOMA de New York. La acción queda registrada por la cámara de fotos y se muestra por una secuencia de fotográfica (alrededor de 70) en proyecciones individuales. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379438743149-6LWP74RMMZ0HQOYE6ILK/Sin-ti%CC%81tulo-1.jpg Serie Estrujados. Serie abandonados (Tate Modern), 2008. DVD. Sequence of 70 pictures, 1 min. Ed. 5. Serie abandonados (Tate Modern), 2008. DVD. Secuencia de 70 fotografias. 1 min. Ed. 5. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371470159336-K4MBK9QGJ7H6DZPILVPD/6.jpg Serie Estrujados. Serie estrujados (Flag Jasper Johns - L), 2007. Felt-tip pen on indestructible paper, trash bag and carton box. 220 X 340 CM. Serie estrujados (Bandera Jasper Johns - L), 2007. Rotulador sobre papel irrmpible, bolsa de basura y caja de cartón. 220 X 340 CM. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371491101885-6Y6N6K2OVYJYYDLFDMPH/23.jpg Serie Estrujados. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379338987634-QI13BUHLDUE34RX4AV8W/Sin-ti%CC%81tulo-1.jpg Serie Estrujados. Serie estrujados (la DS), 2010. Unbreakable paper, PVC structure, 140x482 x115 cm First Loan Exhibition, CAB Burgos, 2010. Serie estruajdos (la Ds)), 2010. Papel irrompible, estructura PVC, 140x482x115 cm. First Loan Exhibition CAB Burgos, 2010. In July 1929 Alfred H. Barr Jr. is appointed first director of the New York Modern Art Museum, known as the MOMA, which with the passing of time would become a unique and paradigmatic model of the world’s modern art museums. On 29th- October and coinciding with the Great Depression, the Wall Street Crash happened, which lead the world to the most profound and lasting crisis ever suffered before the one which is presently humbling us. In November 1929 the MOMA opens the doors of its first headquarters with an exhibition entitled “First Loan Exhibition”: Cézanne, Gauguin, Seurat, Van Gogh… It was the point of departure of a period which was marked for more than 40 years by the idea of one of the most prestigious art critics of the 20th century, Alfred H. Barr Jr. Renegade of the prevailing formalism of that period, he established the no-limits of modern art, which became the new and revolutionary conception of the museum’s foundations. This way, a different museum was born against the ruling trend that deeply pervaded with a nationalist and 19th century-like flavour. This museum not only included painting and sculpture, but for the first time also devoted departments to architecture, photography, cinema, industrial and graphic design along with any other artistic expression of eminent international projection which were also showed. And all this with the double aim of promoting exhibitions and research. Javier Arce appropriates the title of that founding show for his exhibition: “Primera Exposición Prestada” (NT: First Loan Exhibition), providing us, this way, with a preliminary metaphor. In this initiated 21st century, he selects, according to his taste and criterion, seven of today´s most important and emblematic artists for their already proven multidisciplinary work. And it is not by coincidence that he does it in a period of profound economic, ideological and cultural crisis. Nowadays, all the controversies that the MOMA, headed by its director, had to face, have long since been well and truly overcome. However, it is also true that our society wearily moves between scepticism or even pessimism and a feeling of vertigo in view of an uncertain or imprecise future. In Javier Arce’s “Primera Exposición Prestada: Serie Estrujados e Imágenes Bastardas” he himself brings a big dosis of museum organisation. On the one hand, he “borrows” the works from different referential artists for his own versions. On the other hand, he sets up a museographical scene with them. He compares three works of art of the series “Serie Estrujados” (N.T: Crumpled Series) which he has developed during the last years, moving into the three-dimensional or the round forms in two of them. He also presents four of his most recent works created in bi-dimensional supports, the so called “Imágenes Bastardas” (N.T: Bastard Images). The exhibition and comparison of these seven emblematic works which are at the same time object and concept, conceived in a mesuographical way, as if it were a private museum, beyond mere exhibition, does not prevent him from remaining in his characteristic ironical or even irreverent position towards the so-proclaimed icons of modern art. This way, these works of art which have been previously shown in international exhibitions and which are part of the most important museums of the world such as the Venetia Biennale, the MOMA itself, the Tate Modern in London or the Solomn R. Guggenheim Museum in New York are submitted to the artist’s manipulation and re-interpretation which go beyond the look and mere reverent recreation that make them overstep the mark, as the original artists once did with the originals. As happened to the modern art masters Cézanne, Gauguin, Seurat and Van Gogh, who were severely criticised by the conservative American society but also reverenced by this emerging institution, the singular Damien Hirst, Gabriel Orozco, Thomas Struth, Santiago Sierra, Olafur Eliasson, Tino Sehgal and Maurizio Cattelan see themselves re-considered from an artistic point of view by Javier Arce, beyond the admiration showed by the the MOMA, for their own and genuine essence, which is even a bit moreprovocative and insolent. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372759785316-6PZ1PMQXP5714C1QV9PJ/21.jpg Serie Estrujados. Serie estrujados (The Physical Impossibility of Death in the Mind of Someone Living), 2010. Unbreakable paper, PVC structure, 213 x 518 x 213 cm. Serie estruajdos (The Physical Impossibility of Death in the Mind of Someone Living), 2010. Papel irrompible, estructura PVC, 213 x 518 x 213 cm. First Loan Exhibition CAB Burgos, 2010. En julio de1929 Alfred H. Barr Jr. es nombrado primer director del Museo de Arte Moderno de Nueva York, más conocido por el acrónimo MOMA, que con el paso de los años se iría constituyendo en el modelo único y paradigmático de los museos de arte contemporáneo del mundo. El 29 de octubre de ese mismo año y coincidiendo con la Gran Depresión estalla el Crack de Wall Street, que provoca la crisis económica más profunda y duradera que el mundo ha conocido antes de la que nos está doblegando en la actualidad. En noviembre de ese mismo año de 1929 el MOMA abre sus puertas en su primera sede con una exposición titulada First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh, es decir, Primera Exposición Prestada… Con ella el museo comenzaba una etapa y trayectoria marcadas por el pensamiento de uno de los más prestigiosos críticos de arte del siglo XX durante más de cuarenta años, el mencionado Barr, quien, ya en 1929, renegando del formalismo imperante en su época, había establecido los no límites del arte moderno, lo que supuso la nueva y revolucionaria concepción de los fundamentos del museo. Nacía así contra la corriente imperante de marcado cariz decimonónico y nacionalista un museo diferente, en el que tenían cabida no sólo las artes de la pintura y de la escultura, sino que por primera vez también tendrían entrada la arquitectura, la fotografía, el cine, el diseño industrial y gráfico y cualquiera otra manifestación de interés eminentemente internacional. Y todo ello con la doble y dinámica intención de exhibición y estudio. Javier Arce se apropia para su exposición del título de aquella muestra fundacional, Primera Exposición Prestada, facilitándonos así una preliminar metáfora. En este ya iniciado nuevo siglo XXI elige, según su gusto y criterio, a siete de los artistas más importantes y emblemáticos de la actualidad, por su ya suficientemente demostrado trabajo multidisciplinar. Y lo hace, no por simple coincidencia, en un momento también de grave crisis económica, ideológica, cultural y social. Una época, la actual, que verdadera y definitivamente superó hace ya muchos años las controversias de todo tipo a las que se tuvo que enfrentar el MOMA con su director al frente, pero que igualmente se mueve algo cansada entre el escepticismo, cuando no pesimismo, y una sensación de vértigo ante un incierto o impreciso futuro. Hay mucho de comisariado museológico a través de sí mismo en esta muestra de Javier Arce, Primera Exposición Prestada: Serie Estrujados e Imágenes Bastardas. Por un lado, elige en ‘préstamo’ obras de artistas referentes para sus propias versiones; por otro, establece una escena museográfica de las mismas, confrontando tres obras de la Serie Estrujados que ha venido desarrollando durante los últimos años, dando ahora un gran paso a lo tridimensional, al bulto redondo, en dos de ellas, con otras cuatro de sus recientes experiencias en nuevos soportes bidimensionales, las denominadas Imágenes Bastardas. La exhibición y confrontación de siete obras emblemáticas que reúnen en sí mismas el objeto y el concepto, planteadas de manera museográfica, más allá de la mera exhibición, a modo de museo imaginario particular, no le impide, sin embargo, mantenerse en su propia característica irónica e incluso irreverente hacia esos ya proclamados iconos del arte de nuestros días. Así estas obras, anteriormente exhibidas en grandes exposiciones internacionales y pertenecientes a los más importantes museos del mundo, tales como la Bienal de Venecia, el propio MOMA, de Nueva York, la Tate Modern, de Londres y el Museo Solomon R. Guggenheim, de Nueva York, se ven sometidas, más allá de una mirada y pura recreación reverentes, a la manipulación y reconsideración creativa o reinterpretación del artista, extralimitándolas en todos los casos, como ya hicieran, provocativos con las originales, sus autores. Cuales aquellos maestros del arte moderno, Cézanne, Gauguin, Seurat y Van Gogh, todavía muy criticados entonces por la conservadora sociedad norteamericana, pero reverenciados por la institución naciente, estos singulares Damien Hirst, Gabriel Orozco, Thomas Struth, Santiago Sierra, Olafur Eliasson, Tino Sehgal y Maurizio Cattelan se ven reconsiderados artísticamente por Javier Arce, fuera de los márgenes de admiración que tuvieron aquellos por parte del MOMA, con su propia y original acentuación un punto, si cabe, más provocativa e insolente. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1371481056543-HSZX7XLEG7WOVLJ98JFL/22.jpg Serie Estrujados. Detail of Serie estrujados (The Physical Impossibility of Death in the Mind of Someone Living), 2010. Unbreakable paper, PVC structure, 213 x 518 x 213 cm. Detalle Serie estruajdos (The Physical Impossibility of Death in the Mind of Someone Living), 2010. Papel irrompible, estructura PVC, 213 x 518 x 213 cm. First Loan Exhibition CAB Burgos, 2010. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379439088813-BJFMJ7DCYA1JQ2YQ65KW/Sin-ti%CC%81tulo-3.jpg Serie Estrujados. http://javierarce.net/the-useless-thing-or-this-amazing-luminous-fountain daily 0.75 2013-10-18 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1382109046901-PH6M5HFCFGK59P1HQV31/Sin-ti%CC%81tulo-1.jpg The useless thing or this amazing luminous fountain. Sin Título (Prototipo de cosa inútil), 2002-2006. Installation, mixed media. Variable dimensions. Ed. 1/3. Sin Título (Prototipo de cosa inútil), 2002-2006. Instalación, técnica mixta. Dimensiones variables. Ed.1/3. The idea for this work arose during the artist’s sojourn in London, where he took a Master’s course in Sculpture at the Wimbledon College of Art. His life experience, closely linked to the idea of movement, leads him to explore the concepts of portability, transformation and polyvalence, which he then applies to his artwork. Starting from these premises, Arce creates a transportable work, a sort of suitcase or packing box that adopts multiple shapes thanks to its two foldable units made out of a range of materials including wood, methacrylate, fabric and cardboard. This object, a prototype unlikely to ever materialise, is presented as a formal framework for the representation of contemporary art, a subversive strategy through which Arce questions the essence and the functionality of artistic objects, and the context in which they are presented. The work’s most direct reference is to be found in Marcel Duchamp’s Dadaist piece Bôite-en-valise. However, while Duchamp transformed everyday objects in works of art, Javier Arce deconstructs the object assumed to be artistic and questions its functionality once it has been subjected to the manifold symbolic transactions of the art world. La concepción de esta obra surge durante la estancia del artista en Londres, donde realizó un Máster de Escultura en la School of Art de la Universidad de Wimbledon. Su experiencia vital, íntimamente ligada a la idea de desplazamiento, le lleva a plantearse conceptos como la portabilidad, la transformación o la polivalencia para aplicarlos al desarrollo de sus trabajos. Partiendo de estas premisas, Arce crea una pieza transportable, una suerte de maleta o caja de embalaje que adopta múltiples formas gracias a sus dos módulos desplegadles, realizados con diversos materiales –madera, metacrilato, telas o cartón–. Este objeto, a modo de prototipo de improbable realización, se presenta como marco formal para la representación del arte contemporáneo, adoptando una estrategia subversiva a través de la cual cuestionar la funcionalidad, la esencia y el contexto en el que se presenta el objeto artístico. La referencia más directa de esta obra se remonta a la dadaísta Boîte-en-valise de Marcel Duchamp, aunque si éste último transformaba los objetos cotidianos en obras de arte, Javier Arce deconstruye el objeto asumido como artístico y cuestiona su funcionalidad tras haber sido sometidos a las múltiples transacciones simbólicas del mercado del arte. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1382109046901-PH6M5HFCFGK59P1HQV31/Sin-ti%CC%81tulo-1.jpg The useless thing or this amazing luminous fountain. Sin Título (Prototipo de cosa inútil), 2002-2006. Installation, mixed media. Variable dimensions. Ed. 1/3. Sin Título (Prototipo de cosa inútil), 2002-2006. Instalación, técnica mixta. Dimensiones variables. Ed.1/3. The idea for this work arose during the artist’s sojourn in London, where he took a Master’s course in Sculpture at the Wimbledon College of Art. His life experience, closely linked to the idea of movement, leads him to explore the concepts of portability, transformation and polyvalence, which he then applies to his artwork. Starting from these premises, Arce creates a transportable work, a sort of suitcase or packing box that adopts multiple shapes thanks to its two foldable units made out of a range of materials including wood, methacrylate, fabric and cardboard. This object, a prototype unlikely to ever materialise, is presented as a formal framework for the representation of contemporary art, a subversive strategy through which Arce questions the essence and the functionality of artistic objects, and the context in which they are presented. The work’s most direct reference is to be found in Marcel Duchamp’s Dadaist piece Bôite-en-valise. However, while Duchamp transformed everyday objects in works of art, Javier Arce deconstructs the object assumed to be artistic and questions its functionality once it has been subjected to the manifold symbolic transactions of the art world. La concepción de esta obra surge durante la estancia del artista en Londres, donde realizó un Máster de Escultura en la School of Art de la Universidad de Wimbledon. Su experiencia vital, íntimamente ligada a la idea de desplazamiento, le lleva a plantearse conceptos como la portabilidad, la transformación o la polivalencia para aplicarlos al desarrollo de sus trabajos. Partiendo de estas premisas, Arce crea una pieza transportable, una suerte de maleta o caja de embalaje que adopta múltiples formas gracias a sus dos módulos desplegadles, realizados con diversos materiales –madera, metacrilato, telas o cartón–. Este objeto, a modo de prototipo de improbable realización, se presenta como marco formal para la representación del arte contemporáneo, adoptando una estrategia subversiva a través de la cual cuestionar la funcionalidad, la esencia y el contexto en el que se presenta el objeto artístico. La referencia más directa de esta obra se remonta a la dadaísta Boîte-en-valise de Marcel Duchamp, aunque si éste último transformaba los objetos cotidianos en obras de arte, Javier Arce deconstruye el objeto asumido como artístico y cuestiona su funcionalidad tras haber sido sometidos a las múltiples transacciones simbólicas del mercado del arte. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1382109081097-1WNV4RI4NSN8RFD8HD5X/Sin-ti%CC%81tulo-1.jpg The useless thing or this amazing luminous fountain. Sin Título (Prototipo de cosa inútil), 2002-2006. Installation, mixed media. Variable dimensions. Ed. 1/3. Sin Título (Prototipo de cosa inútil), 2002-2006. Instalación, técnica mixta. Dimensiones variables. Ed.1/3. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1382109160445-RNAT5IEEKZIZJ6BOOEPF/2.Prototipo-de-cosa-inutil.jpg The useless thing or this amazing luminous fountain. Sin Título (Prototipo de cosa inútil), 2002-2006. Installation, mixed media. Variable dimensions. Ed. 1/3. Sin Títiuo (Prototipo de cosa inútil), 2002-2006. Instalación, técnica mixta. Dimensiones variables. Ed.1/3. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1382108948453-7AYR3X9V2FA43FK1W2D0/1202755412arce.jpg The useless thing or this amazing luminous fountain. Sin Título (Prototipo de cosa inútil), 2002-2006. Installation, mixed media. Variable dimensions. Ed. 1/3. Sin Título (Prototipo de cosa inútil), 2002-2006. Instalación, técnica mixta. Dimensiones variables. Ed.1/3. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1380884605967-7RXO7BNXF2RZBCHLMS73/Sin-ti%CC%81tulo2.jpg The useless thing or this amazing luminous fountain. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1380884633100-HMY1NJQKCQ6D14IO0JZB/Sin-ti%CC%81tulo3.jpg The useless thing or this amazing luminous fountain. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1380883742096-88WIG8CLRYDBRYVN2RCI/6.Prototipo-%28Drawings%29-03.jpg The useless thing or this amazing luminous fountain. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1380883782584-RGI68R9337P8SUWSQIQY/7.Prototipo-%28Wimbledon%29-04.jpg The useless thing or this amazing luminous fountain. Sin Título (Prototipo de cosa inútil), 2002-2006. Installation, mixed media. Variable dimensions. Ed. 1/3. Sin Título (Prototipo de cosa inútil), 2002-2006. Instalación, técnica mixta. Dimensiones variables. Ed.1/3. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1380883801261-87TLHJC259ZBHZYYAYM9/8.Prototipo-%28Wimbledon%29-03.jpg The useless thing or this amazing luminous fountain. Sin Título (Prototipo de cosa inútil), 2002-2006. Installation, mixed media. Variable dimensions. Ed. 1/3. Sin Título (Prototipo de cosa inútil), 2002-2006. Instalación, técnica mixta. Dimensiones variables. Ed.1/3. http://javierarce.net/imagenes-bastardas daily 0.75 2013-11-17 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763349430-DSYZ1D5VQWNC8O0G3CJ4/1.jpg Imagenes Bastardas. Book TOP TEN, 2011. Edition 2 copy. Libro TOP TEN, 2011. Edición 2 ejemplares. El Libro TOP TEN es un libro-archivo (único), cuyo contenido se conforma por una compilación de unas 1000 imágenes sacadas de Google, Flickr o Facebook que han sido tomadas desde una cámara digital o un teléfono móvil por los visitantes a performances o intervenciones temporales de diez artistas contemporáneos seleccionados por el artista. Las imágenes de este libro son el fruto de la búsqueda y rastreo en la red que el artista captura desde el escritorio de su ordenador a través de la fórmula (cmd+mayúscula+3), por lo que obtine fotografías en baja resolución que definen el proceso de trabajo y ajustan el libro. Su intención es hacer un archivo único, que le servirá mas tarde para seleccionar las imágenes que le premitirán hacer las obras que componen la Serie imágenes Bastardas, de las cuales expone algunos ejemplos en esta ocasión. En la serie Imágenes Bastardas, el artista produce diez imágenes grabadas manualmente de gran formato sobre plexiglás y cristal. Para ello, parte de documentación No oficial de las obras de arte archivadas en el Libro TOP TEN. Estas imágenes documentan HECHOS, performances o intervenciones temporales de artistas de las últimas décadas: Olafur Eliasson, Tate Modern; Maurizio Cattelan, MOMA; Santiago Sierra, Pabellon Español Bienal de Venecia; Tino Sehgal, Guggenhein New York; Martin Creed, Tate Britain; Marina Abramovic, MOMA; Banksy, calle de Londres; matthew Barney, Guggenheim New York; Vanessa Beecroft y Thomas Hirschhorn, Museo Precario. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763349430-DSYZ1D5VQWNC8O0G3CJ4/1.jpg Imagenes Bastardas. Book TOP TEN, 2011. Edition 2 copy. Libro TOP TEN, 2011. Edición 2 ejemplares. El Libro TOP TEN es un libro-archivo (único), cuyo contenido se conforma por una compilación de unas 1000 imágenes sacadas de Google, Flickr o Facebook que han sido tomadas desde una cámara digital o un teléfono móvil por los visitantes a performances o intervenciones temporales de diez artistas contemporáneos seleccionados por el artista. Las imágenes de este libro son el fruto de la búsqueda y rastreo en la red que el artista captura desde el escritorio de su ordenador a través de la fórmula (cmd+mayúscula+3), por lo que obtine fotografías en baja resolución que definen el proceso de trabajo y ajustan el libro. Su intención es hacer un archivo único, que le servirá mas tarde para seleccionar las imágenes que le premitirán hacer las obras que componen la Serie imágenes Bastardas, de las cuales expone algunos ejemplos en esta ocasión. En la serie Imágenes Bastardas, el artista produce diez imágenes grabadas manualmente de gran formato sobre plexiglás y cristal. Para ello, parte de documentación No oficial de las obras de arte archivadas en el Libro TOP TEN. Estas imágenes documentan HECHOS, performances o intervenciones temporales de artistas de las últimas décadas: Olafur Eliasson, Tate Modern; Maurizio Cattelan, MOMA; Santiago Sierra, Pabellon Español Bienal de Venecia; Tino Sehgal, Guggenhein New York; Martin Creed, Tate Britain; Marina Abramovic, MOMA; Banksy, calle de Londres; matthew Barney, Guggenheim New York; Vanessa Beecroft y Thomas Hirschhorn, Museo Precario. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763363159-55FREPWWQFYTXYNR7WRO/2.jpg Imagenes Bastardas. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763375650-C76AFMT2TR4QSH4BWN64/3.jpg Imagenes Bastardas. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763401603-XOC4SMF8YNZLX2YNYYRD/5.jpg Imagenes Bastardas. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1384716346256-JL52GUIDK9JB51RLB2Y2/Pages-from-FANFARRIA-PARA-EL-HOMBRE-CORRIENTE.jpg Imagenes Bastardas. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763432466-V1JC18N3IT66ILLKDHA1/7.jpg Imagenes Bastardas. Imagen Bastarda (Marina Abramovic), 2011. Diptych. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Marina Abramovic), 2011. Diptico. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. Díptico. 148 x 223 x 7 cm / 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763447392-QI1D1JMTIVWA2TKTCASF/8.jpg Imagenes Bastardas. Imagen Bastarda (Marina Abramovic), 2011. Diptych. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Marina Abramovic) 2011. Diptico. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. Díptico. 148 x 223 x 7 cm / 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763468561-VNVBXMW40MUQKCSI4I7O/9.jpg Imagenes Bastardas. Imagen Bastarda (Banksy), 2011. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (banksy) 2011. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763482507-JQKBW3OZSL5KFE2DKI86/10.jpg Imagenes Bastardas. Imagen Bastarda (Vanessa Beecroft), 2011. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Vanessa Beecroft) 2011. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763498450-PEPBBY1W3R1CKPVWMLED/11.jpg Imagenes Bastardas. Imagen Bastarda (Matthew Barney), 2011. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Matthew Barney) 2011. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763512224-U1NHLP10JI21TOX7KF6W/12.jpg Imagenes Bastardas. Imagen Bastarda (Maurizio Cattelan), 2011. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Maurizio Cattelan), 2011. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763525922-PRRFMCAQTM9OA42WJANQ/13.jpg Imagenes Bastardas. Imagen Bastarda (Martin Creed), 2010. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Martin Creed) 2010. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763538362-NEUDOXEYUZV3SWOEXIH3/14.jpg Imagenes Bastardas. Imagen Bastarda (Thomas Hirschhorn), 2011. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Thomas Hirschhorn) 2011. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763559524-M6ZZPGWJ44PPSPWESQ21/15.jpg Imagenes Bastardas. Imagen Bastarda (Olafur Eliasson), 2010. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Olafur Eliasson) 2010. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763578318-4709QJI3I7MMK32NWOYH/16.jpg Imagenes Bastardas. Imagen Bastarda (Tino Sehgal), 2010. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Tino Sehgal), 2010. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1372763591213-SYTSD2MRD0HOPFQEQYF1/17.jpg Imagenes Bastardas. Imagen Bastarda (Santiago Sierra), 2010. Hand made print, perspex, oil, pvc, dye glass. 148 x 223 x 7 cm / 43 x 60 x 5 cm. Imagen Bastarda (Santiago Sierra) 2010. Grabado a mano sobre plexiglás, pintura, pvc, cristal tintado. 150 x 205 x 7 cm/ 43 x 60 x 5 cm. http://javierarce.net/modern-canadacana daily 0.75 2013-09-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370100109508-MV6XUM83TTMV2PNP07QV/2.jpg Casa Sacco Vanzetti & Palacio Álamos. Casa Sacco&Vanzetti/ Palacio Álamos. 2012. Charcoal drawings on the wall. Fanzines, school tables.Installation view. MAC Santiago de Chile. Casa Sacco&Vanzetti/Palacio Álamos. 2012. Dibujo mural en carbón, mesas y fanzines. Vista de la instalacion MAC Santiago de Chile. Durante el pasado mes de noviembre, diez artistas de trayectoria internacional hicieron de Santiago de Chile su casa y lugar de trabajo. Llegaron por invitación del curador español Emilio Navarro, director del Centro de Arte Caja de Burgos (CAB), bajo la premisa de que la residencia en una ciudad extranjera es capaz de estimular nuevas formas de pensamiento respecto a nociones de identidad y cultura, lo local versus lo global. Los artistas se instalaron por un mes en casas de familia ubicadas en los barrios patrimoniales de Santiago Centro y Poniente. A partir de recorridos e intercambios con la comunidad, y con los recursos humanos y profesionales disponibles, desarrollaron nuevas obras, que ahora se exhiben en el Museo de Arte Contemporáneo (MAC) de Quinta Normal, en una muestra titulada Agenda Santiago. Mi propuesta para Agenda Santiago se conforma por una instalación compuesta por dos dibujos murales realizados con carbón y dos fanzines: titulada Casa Sacco Vanzetti& Palacio Álamos reflexiona sobre dos grandes y esplendorosos construcciones clásicas del barrio Quinta Normal de centro histórico de la ciudad, un barrio que tuvo una promesa de gloria que nunca se cumplió, como tantos proyectos, utopías de innovación, quedó abandonado, incapacitado de cumplir su promesa, parte de esta fatalidad latinoamericana que nos constituye en el lugar de las ruinas de la modernidad. En la actualidad ambas están deterioradas y abandonadas, razón por la que sus espacios han servido para acoger movimientos sociales al margen de la ley, como es la casa en donde hasta hace un tiempo funcionaba el Centro social okupado Sacco y Vanzetty (Santo Domingo con Bulnes), por otro lado el Palacio Álamos abandonado pero con la "suerte" que da que el ayuntamiento de la ciudad se fijara para recuperlo y convertirlo en un nuevo centro social comunitario. Ambos edificios siguiendo su situación geográfica real fueron dibujados directamente sobre las paredes del museo acompañados por dos fanzines que recogen información que dan cuenta de esos movimientos sociales y políticos entorno a ambas construcciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370100109508-MV6XUM83TTMV2PNP07QV/2.jpg Casa Sacco Vanzetti & Palacio Álamos. Casa Sacco&Vanzetti/ Palacio Álamos. 2012. Charcoal drawings on the wall. Fanzines, school tables.Installation view. MAC Santiago de Chile. Casa Sacco&Vanzetti/Palacio Álamos. 2012. Dibujo mural en carbón, mesas y fanzines. Vista de la instalacion MAC Santiago de Chile. Durante el pasado mes de noviembre, diez artistas de trayectoria internacional hicieron de Santiago de Chile su casa y lugar de trabajo. Llegaron por invitación del curador español Emilio Navarro, director del Centro de Arte Caja de Burgos (CAB), bajo la premisa de que la residencia en una ciudad extranjera es capaz de estimular nuevas formas de pensamiento respecto a nociones de identidad y cultura, lo local versus lo global. Los artistas se instalaron por un mes en casas de familia ubicadas en los barrios patrimoniales de Santiago Centro y Poniente. A partir de recorridos e intercambios con la comunidad, y con los recursos humanos y profesionales disponibles, desarrollaron nuevas obras, que ahora se exhiben en el Museo de Arte Contemporáneo (MAC) de Quinta Normal, en una muestra titulada Agenda Santiago. Mi propuesta para Agenda Santiago se conforma por una instalación compuesta por dos dibujos murales realizados con carbón y dos fanzines: titulada Casa Sacco Vanzetti& Palacio Álamos reflexiona sobre dos grandes y esplendorosos construcciones clásicas del barrio Quinta Normal de centro histórico de la ciudad, un barrio que tuvo una promesa de gloria que nunca se cumplió, como tantos proyectos, utopías de innovación, quedó abandonado, incapacitado de cumplir su promesa, parte de esta fatalidad latinoamericana que nos constituye en el lugar de las ruinas de la modernidad. En la actualidad ambas están deterioradas y abandonadas, razón por la que sus espacios han servido para acoger movimientos sociales al margen de la ley, como es la casa en donde hasta hace un tiempo funcionaba el Centro social okupado Sacco y Vanzetty (Santo Domingo con Bulnes), por otro lado el Palacio Álamos abandonado pero con la "suerte" que da que el ayuntamiento de la ciudad se fijara para recuperlo y convertirlo en un nuevo centro social comunitario. Ambos edificios siguiendo su situación geográfica real fueron dibujados directamente sobre las paredes del museo acompañados por dos fanzines que recogen información que dan cuenta de esos movimientos sociales y políticos entorno a ambas construcciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370099990232-HAZBKB22Z19EJQYB4JZK/2.Casa+Sacco+y+Vanzetti_Palacio+Alamos_1jpg Casa Sacco Vanzetti & Palacio Álamos. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370100034534-H94F9WPZKIW5O4XSOFN2/1.Casa-Sacco-y-Vanzetti-palacio-alamos_2.jpg Casa Sacco Vanzetti & Palacio Álamos. Casa Sacco&Vanzetti/ Palacio Álamos. 2012. Charcoal drawings on the wall. Fanzines, school tables.Installation view. MAC Santiago de Chile. Casa Sacco&Vanzetti/Palacio Álamos. 2012. Dibujo mural en carbón, mesas y fanzines. Vista de la instalacion MAC Santiago de Chile. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370080404037-4QMONV4N6N9MDMB7IBLQ/4.Casa+Sacco+y+Vanzetti.jpg Casa Sacco Vanzetti & Palacio Álamos. Casa Sacco&Vanzetti/ Palacio Álamos. 2012. Charcoal drawings on the wall. Fanzines, school tables.Installation view. MAC Santiago de Chile. Casa Sacco&Vanzetti/Palacio Álamos. 2012. Dibujo mural en carbón, mesas y fanzines. Vista de la instalacion MAC Santiago de Chile. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1369762108085-B3VNBIYA5X9E59LSGWAP/14.Casa+Sacco+y+Vanzetti_Fanzine.jpg Casa Sacco Vanzetti & Palacio Álamos. Fanzine Casa Sacco&Vanzetti. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Fanzine Casa Sacco&Vanzetti. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1366297613631-SV9BW4B5KK3KLOG4WOQ6/2.Casa+Sacco+y+Vanzetti_Palacio+Alamos_1jpg Casa Sacco Vanzetti & Palacio Álamos. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1366716177776-BVFSPS6DRT2AK8PSH09I/2.Casa+Sacco+y+Vanzetti_Palacio+Alamos_1jpg Casa Sacco Vanzetti & Palacio Álamos. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370077896389-RP535JY3G0JUV16080N4/15.Casa+Sacco+y+Vazetti_Fanzine.jpg Casa Sacco Vanzetti & Palacio Álamos. Fanzine Casa Sacco&Vanzetti. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Fanzine Casa Sacco&Vanzetti. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1369763248848-9L15IASL4Z6PD65Y4Q70/16.Casa+Sacco+y+Vanzetti.jpg Casa Sacco Vanzetti & Palacio Álamos. Fanzine Casa Sacco&Vanzetti. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Fanzine Casa Sacco&Vanzetti. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1369762902995-9UCE4ZYF7UMTWFW99Q79/17.Casa+Sacco+y+Vanzetti.jpg Casa Sacco Vanzetti & Palacio Álamos. Fanzine Casa Sacco&Vanzetti. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Fanzine Casa Sacco&Vanzetti. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370100330214-LTQ2MU6D5UIQOELIWOKV/centro-social-okupado-y-biblioteca-sacco-y-vanzetti_low.jpg Casa Sacco Vanzetti & Palacio Álamos. Fanzine Casa Sacco&Vanzetti. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Fanzine Casa Sacco&Vanzetti. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1369763037454-IGJ3HKEZANP7B2AXAA9I/20.Casa+Sacco+y+Vanzetti.jpg Casa Sacco Vanzetti & Palacio Álamos. Fanzine Casa Sacco&Vanzetti. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Fanzine Casa Sacco&Vanzetti. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370077495532-46NG7QPDYZ655NYSRAE3/3.Palacio+Alamos.jpg Casa Sacco Vanzetti & Palacio Álamos. Palacio Álamos. 2012. Charcoal drawings on the wall. Fanzines, school tables.Installation view. MAC Santiago de Chile. Palacio Álamos, 2012. Dibujo mural en carbón. Vista de la instalacion MAC Santiago de Chile. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1366716090267-K4CPZXK24V7I9BC060IK/2.Casa+Sacco+y+Vanzetti_Palacio+Alamos_1jpg Casa Sacco Vanzetti & Palacio Álamos. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1366716242646-PBLEITYUJE7FM6JBPOVS/2.Casa+Sacco+y+Vanzetti_Palacio+Alamos_1jpg Casa Sacco Vanzetti & Palacio Álamos. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1369761670452-B60594QQJRWFM0ODWPCA/7.Palacio+Alamos+Fanzine.jpg Casa Sacco Vanzetti & Palacio Álamos. Fanzine Palacio Álamos. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Fanzine Palacio Álamos. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370079025382-MTJBG8XE1U8EV4Y0GJOO/8.Palacio+Alamos+Fanzine.jpg Casa Sacco Vanzetti & Palacio Álamos. Fanzine Palacio Álamos. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Fanzine Palacio Álamos. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370079065363-6OOT8W29AA4P8OBNNFC1/9.Palacio+Alamos.jpg Casa Sacco Vanzetti & Palacio Álamos. Page of the Fanzine Palacio Álamos. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Página del Fanzine Palacio Álamos. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370079100537-RA9ZOR1YMGWWZPL2E7DA/10.Palacio+Alamos.jpg Casa Sacco Vanzetti & Palacio Álamos. Page of the Fanzine Palacio Álamos. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Página del Fanzine Palacio Álamos. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370100364288-98M2X06M5L95598TJ599/palacio3_low.jpg Casa Sacco Vanzetti & Palacio Álamos. Page of the Fanzine Palacio Álamos. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Página del Fanzine Palacio Álamos. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370079610997-FJGYR5QCIW3YQWOV8OWA/11.+Palacio+Alamos.jpg Casa Sacco Vanzetti & Palacio Álamos. Page of the Fanzine Palacio Álamos. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Página del Fanzine Palacio Álamos. Fotocopias y papel reciclado. 29,7 cm x 21 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370079647916-5AH2SXK8M4A7PG0T60XA/12.Palacio+Alamos.jpg Casa Sacco Vanzetti & Palacio Álamos. Page of the Fanzine Palacio Álamos. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Página del Fanzine Palacio Álamos. Fotocopias y papel reciclado. 29,7 cm x 21 cm.. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1370079707883-3ADZ7WZ8Y024SEORL5EH/13.Palacio+Alamos.jpg Casa Sacco Vanzetti & Palacio Álamos. Page of the Fanzine Palacio Álamos. Fhotocopy and recycled paper. 29,7 cm x 21 cm. Página del Fanzine Palacio Álamos. Fotocopias y papel reciclado. 29,7 cm x 21 cm. http://javierarce.net/nueva-geografa-uiversal-suburbio-de-la-historia-de-lo-general-a-lo-particular daily 0.75 2013-12-23 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387193780927-QVDUMPLEOE79KD5J5HPY/1.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.   Last August, a month before going to Paris, I was working on the island of Puerto Rico, more specifically on the Island of Vieques, without much certainty about why I was doing it or what it was that I was doing. I knew, of course, that I had found a paradise on earth to think about man and his environment. From there I began to make a few drawings, more specifically some clichés (material used to make images with a mimeograph) and photos. On Vieques there is a strong sense of awareness of place and of care towards that which is native, both from a social and naturalistic point of view. Upon my arrival in Paris, thanks to this grant, I was able to get fully into the study of the work and thought of Élisée Reclus. As the days went by, I realised that what I had lived and seen in Vieques had a lot to do with all of E. Reclus’ texts, as well as other contemporary authors that have written about or from his thoughts. I concluded that I had to link my experiences in Vieques with the concepts I discovered in Paris. Reclus’ thoughts have been debated over the last few years, by geographers, sociologists and thinkers, such as Myrna M. Breitbart, Philippe Pelletier, Federico Ferretti, Yves Lacoste, and his biographer Hélène Sarrazin, all of them have been studying Reclus’ work. (continue)   El pasado mes de agosto, un mes antes de ir a Paris, estuve trabajando en una isla de Puerto Rico, en concreto la Isla de Vieques, sin tener mucha certeza de por qué estaba haciendo lo que estaba haciendo. Sabía, eso sí, que me encontraba en un paraíso en la tierra pensando sobre el hombre y su medio. Allí empecé a realizar unos dibujos, más concretamente unos clichés (material que se utiliza para conseguir imágenes con un mimeógrafo) y fotos. En la Isla de Vieques existe una fuerte conciencia de lo local y de cuidado por lo autóctono, tanto desde un punto de vista de lo social, como de lo natural. A mi llegada a Paris gracias a esta beca me introduje totalmente en el estudio sobre la obra y pensamiento de Élisée Reclus. Conforme pasaban los días me di cuenta que lo que había vivido o visto en la Isla de Vieques tenia que ver mucho con todos esos textos de E. Reclus, además de otros autores actuales que habían escrito sobre o a partir de sus pensamientos. Concluí entonces que debía de unir mi experiencia en Vieques y los conceptos encontrados en Paris. Los pensamientos de Reclus están siendo debatidos en estos últimos años por parte de geógrafos, sociólogos y pensadores como Myrna M. Breitbart. Philippe Pelletier, Federico Ferretti, Yves Lacoste, o su biógrafo Hélène Sarrazin, todos ellos estudiosos de la obra de Reclus. (continúa) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387193780927-QVDUMPLEOE79KD5J5HPY/1.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.   Last August, a month before going to Paris, I was working on the island of Puerto Rico, more specifically on the Island of Vieques, without much certainty about why I was doing it or what it was that I was doing. I knew, of course, that I had found a paradise on earth to think about man and his environment. From there I began to make a few drawings, more specifically some clichés (material used to make images with a mimeograph) and photos. On Vieques there is a strong sense of awareness of place and of care towards that which is native, both from a social and naturalistic point of view. Upon my arrival in Paris, thanks to this grant, I was able to get fully into the study of the work and thought of Élisée Reclus. As the days went by, I realised that what I had lived and seen in Vieques had a lot to do with all of E. Reclus’ texts, as well as other contemporary authors that have written about or from his thoughts. I concluded that I had to link my experiences in Vieques with the concepts I discovered in Paris. Reclus’ thoughts have been debated over the last few years, by geographers, sociologists and thinkers, such as Myrna M. Breitbart, Philippe Pelletier, Federico Ferretti, Yves Lacoste, and his biographer Hélène Sarrazin, all of them have been studying Reclus’ work. (continue)   El pasado mes de agosto, un mes antes de ir a Paris, estuve trabajando en una isla de Puerto Rico, en concreto la Isla de Vieques, sin tener mucha certeza de por qué estaba haciendo lo que estaba haciendo. Sabía, eso sí, que me encontraba en un paraíso en la tierra pensando sobre el hombre y su medio. Allí empecé a realizar unos dibujos, más concretamente unos clichés (material que se utiliza para conseguir imágenes con un mimeógrafo) y fotos. En la Isla de Vieques existe una fuerte conciencia de lo local y de cuidado por lo autóctono, tanto desde un punto de vista de lo social, como de lo natural. A mi llegada a Paris gracias a esta beca me introduje totalmente en el estudio sobre la obra y pensamiento de Élisée Reclus. Conforme pasaban los días me di cuenta que lo que había vivido o visto en la Isla de Vieques tenia que ver mucho con todos esos textos de E. Reclus, además de otros autores actuales que habían escrito sobre o a partir de sus pensamientos. Concluí entonces que debía de unir mi experiencia en Vieques y los conceptos encontrados en Paris. Los pensamientos de Reclus están siendo debatidos en estos últimos años por parte de geógrafos, sociólogos y pensadores como Myrna M. Breitbart. Philippe Pelletier, Federico Ferretti, Yves Lacoste, o su biógrafo Hélène Sarrazin, todos ellos estudiosos de la obra de Reclus. (continúa) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387193917595-WMON84RJE8LB171FMMHQ/4.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.   1. A series composed of 6 volumes in which I intervene in the work The Earth and its Inhabitants, written by Elisee Reclus (1905-1908) and the completed trilogy that began with Earth (2 vols. 1876-1894). My intervention is focused on the introduction of each of these volumes in which there are a series of photos taken during my stay in Vieques (Puerto Rico), in August, 2013. In these photographs one can see a number of local people, natives, clichés that are held that will later be printed from a mimeograph. These clichés are made with reference to landscapes belonging to Vieques and documentation found in the Bibliothéque Nationale de France and the British Library about Caribbean landscapes. In addition to the incorporation of dust jackets with the project title and an explanatory note on the back cover. The first inhabitants on the Island of Vieques were the Taino, then later on French, Spanish and English settlers, and at the end of the Spanish/ American war (1898) it was handed over to the United States. In 1952 it became part of Puerto Rico’s commonwealth. On May 1st, 2003 it was determined that the contracted agreement would not be renewed and President George W. Bush ordered the departure of the U.S. Navy that used the island as a base for military training exercises (continue) 1. Serie compuesta por 6 volúmenes en los que intervengo la obra El Hombre y la Tierra, escrita por Élisée Reclus (1905-1908) y que completan la trilogía iniciada con La Tierra (2 vols., 1868-1869), seguido de La Tierra y el Hombre (19 vols., 1876-1894). Mi intervención se centra en la introducción en cada uno de los volúmenes de una serie de fotos tomadas durante mi estancia en la Isla de Vieques (Puerto Rico), en agosto de 2013. En estas fotografías se puede ver una serie de gente Local , autóctonos, sosteniendo clichés que mas tarde serán impresos a partir de un mimeógrafo. Estos clichés están realizados tomando como referencia paisajes propios de la Isla de Vieques y documentación buscada en la Bibliothéque Nationale de France y la British Library sobre el paisaje caribeño. Además de la incorporación de sobrecubiertas con el título del proyecto, y nota explicativa en la contraportada. Los primeros pobladores de la Isla de Vieques fueron los taínos, más tarde llegaron los colonos franceses, españoles e ingleses y al término de la Guerra hispano-estadounidense (1898) pasó a manos de los Estados Unidos. En 1952 formó parte del Estado Libre Asociado de Puerto Rico. El 1 de Mayo de 2003 se determinó que el contrato de arrendamiento no se renovaría y el presidente George W. Bush ordenó la salida de la Marina de Guerra de los Estados Unidos que utilizaba esta isla como campo de pruebas del ejército (continúa)   https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387221961495-NYN5U5A02F3EUPETFSJW/0.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.   Élisée Reclus (1830-1905) was, perhaps, the most prolific geographer that has ever existed. Reclus was an easily accessible, disciplined writer that was able to dedicate almost all his waking hours to writing. It is also worth noting his work as a teacher in the creation of the new university in Brussels in 1894. However, Reclus had another aspect to him that was equally important; he was a leading anarchist figure in his time. For him Anarchism was an essential and pervasive philosophy. To understand Reclus’ geography it is vital to have an understanding of his anarchism and vice versa. The impact that it had on Reclus’ professional practice was very important, due to his personal commitment to humanism and anarchism, his love of the earth and his passion for the world. Reclus’ main works were the six volumes of Earth and its Inhabitants. This work wants to be a study on social geography. Throughout the volumes time passes from that of the ancients towards the modern, the geographical content decreases and the discussion becomes more focused on contemporary institutions in an almost journalistic way. It currently holds interest because of its anarchist vision of history, with an emphasis placed on social ills and their solutions. In these volumes it is possible to see a continuing concern with the uneven distribution of wealth, underlining the importance of geographical study taking an inventory of global resources, as well as suggesting a plan for their equal distribution. Reclus argued that basic decisions about production and consumption shouldn’t be taken by bureaucrats, but by communities or associations of independent workers who could overcome greed and a hunger for power. The objective of “free production and fair distribution” is attainable, and Reclus was convinced, by his historical vision, that humanity was making definitive progress towards this state of happiness (continue)   Élisée Reclus (1830-1905) fue quizá el geógrafo más prolífico que jamás haya existido. Reclus fue un escritor fácil, disciplinado, que pudo dedicar casi todas las horas que estaba despierto a escribir. Destaca también su labor como docente creando la Nueva Universidad de Bruselas en 1894. Pero Reclus tuvo otro aspecto igualmente importante; fue una figura anarquista destacada en su momento. Para él el anarquismo era una filosofía esencial y omnipresente. Para entender la geografía de Reclus es preciso entender su anarquismo, y viceversa. El impacto que tuvo la práctica profesional de Reclus fue muy importante, debido a su compromiso personal con el humanismo y el anarquismo, su amor a la tierra y su pasión por el mundo. La principal obra de Élisée Reclus fueron los seis volúmenes de El Hombre y la Tierra. Esta obra quiere ser un estudio sobre la geografía social. A medida que los volúmenes van pasando desde los tiempos antiguos hacia los modernos, el contenido geográfico decrece y la discusión sobre instituciones contemporáneas es de un enfoque casi periodístico. Actualmente tiene interés por su visión anarquista de la historia, con el énfasis puesto en los males sociales y sus soluciones. Se puede ver en estos volúmenes la reiterada preocupación por la desigual distribución de la riqueza, subrayando la importancia del estudio de la geografía en la realización de un inventario de los recursos mundiales, además de sugerir un plan para su distribución igualitaria. Reclus argumentaría que las decisiones básicas sobre producción y consumo no deberían ser tomadas por burócratas sino por comunidades o asociaciones de trabajadores independientes que habrían superado la avaricia y la codicia del poder. El objetivo de la “libre producción y justa distribución” es alcanzable, y Reclus estaba convencido, en su visión histórica, de que la humanidad estaba haciendo progresos definitivos hacia ese estado feliz (continúa) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387193944722-W022PG0VURPGI22RANKI/5.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.   His work in Latin America was also of great importance, raising two elements of current debate. One of them is the way in which he highlighted the political importance of the republic, recently renewed on the continent. The other is the importance he gave to the continent as a virginal element, and therefore of its great value in the construction of a new social state, in which to reconcile an old, saturated Europe (monarchy) and an up and coming Latin America (Republic) with a basis for a new political form of reproduction. A peaceful and happy society (Reclus 1861:22). In his opinion, this would encourage the future emancipation of the world. Later on, this double dimension of work and challenges posed by Reclus would be the commitments made by the radical geography of 1970 and the concerns facing geography today (continue)   Su trabajo en Latinoamérica fue de gran relevancia, planteando dos elementos de discusión actual. Uno de ellos es la manera cómo resaltó la importancia política de las repúblicas recién instauradas en el continente. El otro es la trascendencia que dio al continente como elemento virgen. Y por lo tanto, de gran valor para la construcción de un estado social nuevo, en el cual se reconciliarían la Europa saturada y vieja (monárquica) y la América Latina naciente (republicana), con base en una nueva forma política de reproducción de una sociedad feliz y pacífica (Reclus 1861:22). En su opinión, esto propiciaría la emancipación futura del mundo. Más tarde, esta doble dimensión del trabajo y los desafíos planteados por Reclus serán los compromisos tomados por la geografía radical en la década de 1970 y los que enfrenta la geografía en la actualidad (continúa) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387219637318-YADHUI2MYTVDP0QZ9FR3/8.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.   2. The second part of the installation is composed of six clichés that were made on the Island of Vieques. It is my wish to hang the drawings in the air on a piece of twining that runs horizontally from wall to wall. These pieces of vine bring the flora of the island to Spain. The line created by the vine, will cut the exhibition space diagonally. On the floor plan I want to have three geometric shapes: a line, a circle and a rectangle. Simple geometric forms that will represent, respectively, corn, tobacco and yucca plants native to the island, but that no longer exist as crops. Using this gesture I believe that a clear contradiction is raised between the geometrization of nature in these flat sculptures and the serialisation of the natural landscape presented in the clichés (continue)   2. La segunda parte de la instalación la componen los 6 clichés que realice en la Isla de Vieques. Es mi deseo colgarlos a modo de dibujos en el aire en una liana que va horizontalmente de pared a pared. Estas lianas que traje a España cuelgan de los árboles de la isla. Esta línea creada por la liana, cortará el espacio expositivo en diagonal. En el plano del suelo quiero disponer tres formas geométricas, una línea, un circulo y un rectángulo, formas geométricas simples que estarán realizadas respectivamente por maíz, tabaco y yuca, plantas autóctonas de la isla pero que ya no existen como cultivo en esta. Con este gesto creo una clara contradicción entre la geometrización de la naturaleza en estas esculturas planas y la seriación del paisaje natural de la isla en los clichés (continúa)     https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387212279071-PAALH2OF96PDDO8ET6VC/7.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.   3. The third part of the installation is composed of prints made out of the clichés, which have been turned into mimeographs. This realisation of the images of the clichés and their embodiment on paper, is the result of previous research of documentation from Bibliothéque Nationale de France and the British Library. From the information I tried to find similar places on the Island of Vieques, making clichés that would make more of the documentation I had uncovered. Alongside these images will be a series of audio extracts in which one will be able to listen to relative utterances from contemporary texts by geographers and thinkers based on the thoughts of Reclus, with the peculiarity that they are read in Spanish, three of them by Spaniards and another three by people from other countries. The list of phrases is as follows: Oeste sobre la superficie del globo, F. Ferretti. De la geografía del Estado a la geografía de los poderes, Marie-France Prévôt-Schapira. Hegemonía y colonialismo, F. Ferretti. La identidad de Europa. Articulación costera y libertad ciudadana, F. Ferretti. Cambios de proceso, Blanca Rebeca Ramírez Velázquez. Geografía electoral, región y democracia en la geopolítica crítica francesa, Jaime Preciado Coronado (continue)   3. La tercera parte de la instalación la componen, por un lado las impresiones obtenidas de los clichés que realicé con un mimeógrafo. Esta realización de las imágenes en los clichés y posteriormente en papel, son fruto de la búsqueda previa de documentación en la Bibliothéque Nationale de France y en la British Library. Y a partir de esa información traté de buscar sitios similares en la Isla de Vieques, haciendo clichés de lo que veía más la documentación que había encontrado. Junto a estas imágenes van dispuestos una serie de audios en los cuales se podrán escuchar respectivas locuciones sobre textos actuales de geógrafos y pensadores basados en los pensamientos de Reclus, con la particularidad que están leídos en español, tres de ellos por españoles y otros tres por personas de otros países. El listado de locuciones es el siguiente: Este y Oeste sobre la superficie del globo, F. Ferretti. De la geografía del Estado a la geografía de los poderes, Marie-France Prévôt-Schapira. Hegemonía y colonialismo, F. Ferretti. La identidad de Europa. Articulación costera y libertad ciudadana, F. Ferretti. Cambios de proceso, Blanca Rebeca Ramírez Velázquez. Geografía electoral, región y democracia en la geopolítica crítica francesa, Jaime Preciado Coronado (continúa)       https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387196663137-MRUETWYMBE3R4WOTCJM4/6.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.     The reflections that make up this work are appropriate and necessary in the face of the challenges of a globalised world that has started off with serious problems concerning governance, regional inequality, the destruction of nature, marginalisation and human misery in the twenty-first century. When the economy functions at an international scale never before seen in history, and we start to talk about a world without borders, without trade tariffs or culture, and unity given by unbounded information networks of control and hierarchies, with a scope that was unknown until recently. Paradoxically reality deviates, more than it ever has, from a utopia of equality and general wellbeing, of a fraternity and solidarity among humanity as well as freedom and a harmonious integration with nature. The globalised world is very far from being the world without borders dreamt of by great anarchist thinkers, such as Reclus.   Las reflexiones que se hacen con este trabajo son oportunas y necesarias ante los desafíos de un mundo globalizado que ha empezado el siglo XXI con graves problemas de gobernabilidad, desequilibrios territoriales, destrucción de la naturaleza, marginación y miseria humanas. Cuando la economía funciona a escalas internacionales como nunca antes en la historia, y se nos habla de un planeta sin fronteras, sin aranceles para el comercio ni la cultura, y unido por redes informáticas libres de controles y jerarquías, con alcances insospechados hasta hace muy poco, paradójicamente, la realidad se aparta más que nunca de aquella utopía de igualdad en el bienestar de las personas, de fraternidad y solidaridad entre los hombres, de libertad y de integración armónica con la naturaleza. Ese mundo globalizado está muy lejos del mundo sin fronteras que soñaron los grandes pensadores anarquistas como Élisée Reclus.           https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387219681602-UOFRBK4YI2FXFNXO2JUJ/9.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones.     https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194299933-WZD2XLE3Y9JS84GPVEDD/21.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387218974455-I8KCUGDFUF47JQKOVPBJ/22.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194244299-9G8FWCJFX78B5TDVAG1V/19.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387218928860-93OVGDJV8XVXU9ALICCO/20.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194347847-EKTD9VTZ61N7Z1H29T9P/23.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387220018022-HO4RZG93CYHOIN57LGCS/24.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194400606-TNR9TO9AG5J5Q6TGSJDI/25.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387219052289-UWZQAWOPEFVWC5SSAVPF/26.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194447998-3FH8H1IJ8CVQF39ALV63/27.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387219093166-7ER3GOKLSVQGBKXBER0G/28.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194499905-PZCHAI2H1RZTJ402AZTS/31.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387219164333-BYLRAWV0XXKZYO4GJBQF/32.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194831193-5XV75GM2505V9WIZIEMC/29.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387219210004-VGXS10XSQJ8XFHUWKJA0/30.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387214494723-GALX5KVEK8NXQUFG1602/Sin-ti%CC%81tulo-12.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387213200977-AEOUMMRW026YO35FLT37/11.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387196765324-J78Z394LZ7EAPAJCAN4N/13.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194120047-P6RQAJ0I2BVJEJFPNC5Z/14.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194165868-AIGA48NNPUUFBTAATN8Y/16.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194144499-8TG8H8GNFJ9D6T0AKQDE/15.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194189496-XN4X5HOHVF28LC8Q3N4A/17.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194216665-UJ8VTY3IELHW7MLIDL54/18.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1387194899005-HFTFOGABBHF6MUX5GDSY/3.jpg Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular. New Universal Geography. Suburd of History: from the general to the particular, 2013. Installation, books, hahnemühle photopaper, mimeograph´s cliches, mimeograph´prints, corn, tobacco, yucca, vine, audio locution. Nueva Geografía Universal. Suburbio de la Historia: de lo general a lo particular, 2013. Instalación, libros, hahnemühle fotografía, clichés de mimeógrafo, impresiones de mimeógrafo, maíz, tabaco, yuca, liana, audios locuciones. http://javierarce.net/drawings-for-a-demostration daily 0.75 2015-12-11 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449832007206-BOQ1G35UOLDYN84VARG6/image-asset.jpeg Keep politics out of the picture Imagen de la exposición Keep politics out of this picture, Galería T20. Murcia. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392375543200-X1CE5JE9V9YCTAS2P70N/2.javier+arce+keep-politics-out-of-this-picture.jpg Keep politics out of the picture Keep politics out of this picture # 1, 2013. Waste material of my cabin (stone) and New Yorker Magazine. 23 x 70 x 40 cm. Keep politics out of this picture # 1, 2013. Material de derribo de mi cabaña (piedra) y revista New Yorker. 23 x 70 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392375557062-J8GHGMG2DT1HG5BU1ZDW/3.javier+arce+keep-politics-out-of-this-picture.jpg Keep politics out of the picture Keep politics out of this picture # 1, 2013. Waste material of my cabin (stone) and New Yorker Magazine. 23 x 70 x 40 cm. Keep politics out of this picture # 1, 2013. Material de derribo de mi cabaña (piedra) y revista New Yorker. 23 x 70 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392375570211-S1FAOZRSH78M2ZYQCRRN/4.javier+arce+keep-politics-out-of-this-picture.jpg Keep politics out of the picture Keep politics out of this picture # 1, 2013. Waste material of my cabin (stone) and New Yorker Magazine. 23 x 70 x 40 cm. Keep politics out of this picture # 1, 2013. Material de derribo de mi cabaña (piedra) y revista New Yorker. 23 x 70 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392375508532-KIN2G9OSDETZZBCT40AP/0.javier+arce+keep-politics-out-of-this-picture.jpg Keep politics out of the picture Detail of The Doctor, 2014. Propelling pencil on newspaper, 150 x 150 cm. Detalle The Doctor, 2014. Lápiz portaminas y papel prensa. 150 x 150 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392707535028-M6LNOQ1HFIAFMD0L02UN/javier+arce+doctor.jpg Keep politics out of the picture The Doctor, 2014. Propelling pencil on newspaper, 150 x 150 cm. The Doctor, 2014. Lápiz portaminas y papel prensa. 150 x 150 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449832246021-16FEZQVX0Y8ICA705ZZX/image-asset.jpeg Keep politics out of the picture Imagen de la exposición Keep politics out of this picture, Galería T20. Murcia. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449832370386-A7CKROIJN8JOHRZF1T22/image-asset.jpeg Keep politics out of the picture Keep politics out of this picture # 5, 2015. Waste material of my cabin (wire Pastor) and grass. 400cm x 1 cm. Keep politics out of this picture # 5, 2015. Material de derribo de mi cabaña (alambre de pastor) y hierba. 400cm x 1 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449834356000-AYI9R6Z9S4KNUZTUQXAK/image-asset.jpeg Keep politics out of the picture The Battle of the pictures, 2015. Propelling pencil on newspaper, 40 x 40 cm. The Battle of the pitures, 2015. Lápiz portaminas y papel prensa. 40 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449832806088-PIU3UNMM10XH6YTLNVN3/image-asset.jpeg Keep politics out of the picture Imagen de la exposición Keep politics out of this picture, Galería T20. Murcia. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392707583132-PT15LJVU3ETJ70DGN7VU/javier+arce+joy-of-live.jpg Keep politics out of the picture The joy of life, 2012. Propelling pencil on newspaper, 70 x 110 cm. The joy of life, 2012. Lápiz portaminas y papel prensa. 70 x 110 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379497755108-5L2H847O5W60J276YFKE/2.the-joy-od-life-detalle.jpg Keep politics out of the picture Detail of The joy of life, 2012. Propelling pencil on newspaper, 70 x 110 cm. Detalle The joy of life, 2012. Lápiz portaminas y papel prensa. 70 x 110 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392375749815-018AK0K3CUPGQJGM09F3/1.javier+arce+cabin.jpg Keep politics out of the picture Keep politics out of this picture # 2, 2013. Pure milk of the cow who is not anymore in my the cabin, Dia Beacon´s napkin. 23 x 70 x 40 cm. Keep politics out of this picture # 2, 2013. leche pura de vaca que ya no está en mi cabaña, servilleta Dia Beacon, cristal. 12 x 22 x 11 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392375769846-K5VYA6GYA8KD19Q9A7U1/2.javier+arce+cabin.jpg Keep politics out of the picture Keep politics out of this picture # 2, 2013. Pure milk of the cow who is not anymore in my the cabin, Dia Beacon´s napkin. 23 x 70 x 40 cm. Keep politics out of this picture # 2, 2013. leche pura de vaca que ya no está en mi cabaña, servilleta Dia Beacon, cristal. 12 x 22 x 11 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379497396768-UDIPG9BJ82C2X07VPK1S/4.confiscacion-de-una-coleccion-detalle.jpg Keep politics out of the picture Detail of Confiscation of a collection, 2012. Propelling pencil on newspaper, 110 x 110 cm. Detalle Confiscation of a collection, 2012. Lápiz portaminas y papel prensa. 110 x 110 cm.   https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392707634137-OM6G0WNMEP7Y91SNLPW3/javier+arce+2.jpg Keep politics out of the picture Confiscation of a collection, 2012. Propelling pencil on newspaper, 110 x 110 cm. Confiscation of a collection, 2012. Lápiz portaminas y papel prensa. 110 x 110 cm.   https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379500012028-M0YGBMMDEV8P8OQVZG3A/detalle-negros-espan%CC%83oles.jpg Keep politics out of the picture Detail of Negros españoles, 2013. Propelling pencil on newspaper, 95,5 x 110 cm. Detalle Negros españoles, 2013. Lápiz portaminas y papel prensa. 95,5 x 110 cm.   https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392707768588-5PVALT9O280R0F995GRQ/javier+arce+espan%CC%83oles_negros.jpg Keep politics out of the picture Negros españoles, 2013. Propelling pencil on newspaper, 95,5 x 110 cm. Negros españoles, 2013. Lápiz portaminas y papel prensa. 95,5 x 110 cm.   https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449832986815-E0LJSQZEQB271MZSE1B3/image-asset.jpeg Keep politics out of the picture Imagen de la exposición Keep politics out of this picture, Galería T20. Murcia. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449833091221-LWYTV35LXTGW1A743459/1.javier+arce+tejas-y-zorro-low.jpg Keep politics out of the picture Keep politics out of this picture # 4, 2013. Waste material of my cabin (tiles) and fox´s skin. 45 x 110 x 45 cm. Keep politics out of this picture # 4, 2013. Material de derribo de mi cabaña (tejas) y piel de zorro. 45 x 110 x 45 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379496686904-47PW346DP1HSKTL9GCXJ/6.la-batalla-de-toros-y-osos-en-Wall-Street-detalle.jpg Keep politics out of the picture Detail of The battle of bulls and bears in Wall Street, 2012. Propelling pencil on newspaper, 95,5 x 95,5 cm. Detalle The Battle of bulls and bears in Wall Street, 2012. Lápiz portaminas y papel prensa. 95,5 x 95,5cm.   https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392707825481-YY46B9VM76G2L0CP3S7C/javier+arce+osos_toros.jpg Keep politics out of the picture The battle of bulls and bears in Wall Street, 2012. Propelling pencil on newspaper, 95,5 x 95,5 cm. The Battle of bulls and bears in Wall Street, 2012. Lápiz portaminas y papel prensa. 95,5 x 95,5cm.     https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449834831851-EA7ZJLNEVSQQ9B5IOW15/image-asset.jpeg Keep politics out of the picture Imagen de la exposición Keep politics out of this picture, Galería T20. Murcia. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1379355194044-V6MM8UCMNZT1RUQGUKG4/11.soldado-muerto-detalle.jpg Keep politics out of the picture Detail of Dead Soldier, 2012. Propelling pencil on newspaper, 120 x 120 cm. Detalle Dead Soldier, 2012. Lápiz portaminas y papel prensa. 120 x 120 cm.     https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1392707715083-SPSRWXEBA5ZHC5F55ZUL/javier+arce+soldado+muerto.jpg Keep politics out of the picture Dead Soldier, 2012. Propelling pencil on newspaper, 120 x 120 cm. Dead Soldier, 2012. Lápiz portaminas y papel prensa. 120 x 120 cm.   https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449834079552-AM3RNN5J23KTVUFYKUET/4.javier+arce+la-question-de-l%C2%B4espagne.jpg Keep politics out of the picture Keep politics out of this picture # 3, 2013. Waste material of my cabin (wood) and Hérodote magazine. 10 x 150 x 30 cm. Keep politics out of this picture # 3, 2013. Material de derribo de mi cabaña (madera) y revista Hérodote. 10 x 150 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1449834131295-BG3SIGQVTAHDDI7INF8W/5.javier+arce+la-question-de-l%C2%B4espagne.jpg Keep politics out of the picture Keep politics out of this picture # 3, 2013. Waste material of my cabin (wood) and Hérodote magazine. 10 x 150 x 30 cm. Keep politics out of this picture # 3, 2013. Material de derribo de mi cabaña (madera) y revista Hérodote. 10 x 150 x 30 cm. http://javierarce.net/doblar-la-tierra daily 0.75 2015-10-05 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1412879525957-PHUCOK48JZQQ96O3I3TY/doblar-la-tierra.-fb.jpg Random Parts Gallery. San Francisco. Doblar la tierra.   Apuntes sobre el embosque A life build your own house and your own future Some say perspective exists to distinguish between sight and Vision as if losses in landscape lent Transcendental distance to what was to be Inhabited between substance & spirit Kevin Power[1] Wealth is living with the power to create solidarity and a communal spirit Franco (Bifo) Berardy     https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1412878819029-61X7Z88T73GWOXUTGMXR/0.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Doblar la Tierra. Installation view at Random Parts. Oakland, California.   The soil, the cabin, the landscape, the tree...their images... The idea of Doblar la Tierra moves like a hazy halo around the pieces that Javier Arce has gathered under this title. This project proposes an exercise to imagine a space; yet there is no need to find it in a specific place or in just one image, and there is no intention to provide a particular and finished shape. On the contrary, it focuses on the experience of this quest process and it is nourished through it. One of the core ideas used by Javier Arce for this project is a specific house: his cabin in the Cantabrian Mountains in the north of Spain. Like other agricultural buildings, the structure is very simple, with a rectangular shape, and the rooms are very small; and it is built with local materials: stone and wood. It is in the south-facing slope of a valley surrounded by an Atlantic forest with oaks, chestnuts, beeches, pines, hazelnut trees and gum trees. Your own house is at the same time a familiar place but also an unknown one. It is our own space for intimacy and freedom, private and (in theory) impregnable. Like a mirror, it reflects what we are: our likes, our peculiarities, our eccentricities and our obsessions. Building our house up is building ourselves up. We are our house. That is where the trip starts, on the site. However, the path that takes you to that place is not important: there are always several ways. What is important is how we look through. What we see, or rather, our ability to see -always with the echo of Kevin’s poem in our memory like sounds that spread through the valley. Seeing is not that easy. It is essential to keep your lenses and the present focused, since there might be an invisible siege that gets closer and closer on us. We do not manage to see it, but we recognize the symptoms. We somehow perceive it. (continue next page)   La tierra, la cabaña, el paisaje, el árbol... sus imágenes... La idea de Doblar la tierra circula como un halo nebuloso alrededor de las piezas que Javier Arce ha reunido bajo este título. El proyecto se propone el ejercicio de imaginar un espacio, aunque sin la necesidad de hallarlo en un lugar preciso o en una sola imagen, sin la intención de darle una forma concreta o cerrada. Más bien al contrario, se concentra en la experiencia del proceso de su búsqueda y se nutre de ella. Javier Arce ha tomado como uno de los ejes de este proyecto una casa en particular: su cabaña pasiega situada en las montañas de Cantabria, en el norte de España. Su arquitectura, como la de otras cabañas, es una planta rectangular muy simple con espacios reducidos y construida con los materiales provenientes del lugar: piedra y madera. Está ubicada en la ladera sur de un valle, en medio de un bosque atlántico de robles, castaños, hayas, pinos, avellanos y eucaliptus. La casa de uno es un lugar familiar y extraño al mismo tiempo. Es nuestro espacio de intimidad y libertad, privado e inviolable (en principio). Refleja como un espejo lo que somos, nuestros gustos, nuestras rarezas, las manías y las obsesiones de cada cual. Construirla es construirnos, nosotros somos nuestra casa. El viaje comienza ahí, en el site, sin embargo, ni siquiera el camino que lleva al lugar es importante, siempre hay varios. Lo que importa es cómo miramos a través, lo que vemos, o más bien, nuestra capacidad de ver, manteniendo el eco del poema de Kevin en la memoria igual que se prolongan los sonidos en el valle. Y ver, no es tan sencillo. Es preciso mantener las lentes ajustadas y enfocar bien el presente. Pues quizás haya un cerco invisible que se estrecha poco a poco sobre nosotros. No alcanzamos a verlo, pero reconocemos los síntomas, lo percibimos de algún modo. (continúa en la siguiente página) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1415092412220-UOKZODO6JPDO2DIINFIU/1.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Arbol. Mechanical pencil on newsprint (diptych), 114 x 150 cm. 2014.   We live in a time where we might not speak about time but about transience. Still, this term sounds like a kind of political correctness of language, or like a gesture of goodwill or tolerance, since there has always been a coexistence of different times in different places, even when we have tried –from our western perspective- to correct it and impose our own. That is how times coexist in the shapes of violence, which with we daily bump into in the media: from a headless body to the one infected by a laboratory virus, from a stoning to a drones’ war… from slavery to the person with no rights (Agamben). The writer Danilo Kis suggests in The Encyclopaedia of the Death the possibility of reading about the life stories of all those people who have lived. Death reminds us that each life on Earth is essential, as essential as the questions from the poet that will never stop being formulated. Referring to the permanent state of crisis we find ourselves seems almost absurd for its reiteration and obviousness. Rather than alleviating the symptoms of this illness it would be desirable to go through it, heading to the places –whatever they are- with no fear. We have the feeling of being continually on the brink of disaster, knowing that it is not our disaster, that it is permanently lived in different parts of the planet. We acknowledge ourselves as men and women potentially with no rights. We observe how the police state gets expanded in a world under surveillance, always with our consent and collaboration. Today dictatorship happens through our subjugation to surveillance and control. Hopefully, we will question if being indifferent is an option, and hopefully we will be able to imagine ways of living together in freedom. The cabin is the beginning and the end, being at the same time a deceitful image. Nonetheless, what has kept Javier Arce constantly interested is just the opening provided by ambivalence and the environment of confusion created by the ambiguity of the image. He looks for storms in the imagosphere, not for certainty. He has experimented previously, so he knows that images have the capacity of being recharged like electric poles and consequently of reacting with extreme movements. That is the case of works such as Kill Lies All (2013). He is interested in stray images, poor images that wander around Internet, liable to be used, manipulated and changed its meaning. He knows that the image is nothing by itself. What creates meaning is the use of it. His process starts like a game but despite appearances, it is never hazardous. I find particularly interesting the way he transfers the algorithm to the drawing table. He applies a subtle action of resistance, almost like a hacker, but the opposite: he uses a graphite as a tool, diverting the traced routes and the predetermined tracks mathematically formulated, allowing the possibility of a change of direction through a camouflaging strategy. As Hito Steyerl states: “the only way to escape from a camera is by becoming a pixel”. (continue next page)   Vivimos en un tiempo en el que ya no se habla de tiempo, sino de temporalidades, aunque en realidad el término resuena a una corrección política del lenguaje o un gesto de buena voluntad o de tolerancia, pues siempre han convivido tiempos distintos en distintas geografías, aunque desde nuestra perspectiva occidental hayamos tratado de corregirlo imponiendo el nuestro. Así han convivido y conviven los tiempos en las formas de la violencia, con las que nos encontramos a diario en los medios: del cuerpo degollado al infectado por el virus de laboratorio; de la lapidación a la guerra de drones... de la esclavitud al hombre sin derechos (Agamben). El escritor Danilo Kis sugiere en su relato La enciclopedia de los muertos la posibilidad de leer las historias de vida de todas las personas que han vivido. La muerte nos recuerda que cada vida que transcurre sobre la tierra es esencial. Así como son esenciales las preguntas del poeta, que no dejarán de enunciarse nunca. Aludir al estado de crisis permanente en que nos encontramos resulta casi absurdo por la reiteración y la obviedad. Más que paliar los síntomas de esta enfermedad sería deseable transitarla, dirigirnos hacia los lugares, cualesquiera que sean, sin miedo. Tenemos la sensación de estar a cada momento al borde de la catástrofe, conscientes de que la catástrofe no es la nuestra, es la que se vive permanentemente en numerosas zonas del planeta. Nos sabemos potencialmente mujeres y hombres sin derechos. Contemplamos cómo el estado policial se expande de la mano del mundo vigilado y cuenta con nuestro consentimiento y colaboración. Hoy la dictadura está en la entrega de nuestra vida al sometimiento de la vigilancia y del control. Ojalá nos preguntemos si mantener la indiferencia es una posibilidad y seamos capaces de imaginar formas para una vida en común y en libertad. La cabaña es el principio y el fin, y es, a la vez, una imagen engañosa. De cualquier modo, es precisamente la apertura que proporciona la ambivalencia y el entorno de confusión que crea la ambigüedad de la imagen lo que ha interesado siempre a Javier Arce. Busca las tormentas en la imagosfera, no la certeza. Como ha experimentado anteriormente, sabe que las imágenes tienen la capacidad de cargarse como polos eléctricos y reaccionar en consecuencia con movimientos extremos. Así ha sucedido en proyectos recientes como Kill Lies All (2013). Le interesa la imagen a la deriva, la imagen pobre que circula por internet, susceptible de ser usada, manipulada, de cambiar su sentido. Es consciente de que la imagen no es nada, es el uso de la misma el que crea el significado. Particularmente, lo que me interesa de su proceso, que comienza como un juego pero no es azaroso a pesar de las apariencias, es que consigue trasladar el algoritmo a la mesa de dibujo a través de una acción sutil de resistencia, casi como la de un hacker, pero a la inversa, con un grafito como herramienta desvía las rutas trazadas y los caminos predeterminados por las fórmulas matemáticas y consigue que surja la posibilidad de inversión de sentido a través de una estrategia de camuflaje. Como afirma Hito Steyerl: “la única forma de no ser captado por una cámara es transformarse en un píxel”. (continúa en la siguiente página) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1415092546544-7U0QLEGCVFWYEWQNA78X/2.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Arbol (detail). Mechanical pencil on newsprint, 114 x 150 cm. 2014.   The cabin is not a den where you hide. It is not the romantic space where you get shelter and inspiration, and it is neither the place where to find isolation from the world and solitude. On the contrary, it is a space tailor-made for the body –for the bodies- and “the only way to create solidarity and empathy is through the body. Solidarity is enjoying the other’s body. Solidarity is not an ethical or political value: it is corporeality”[1]. The cabin is a space of freedom for encounters with others and with the world. Arce himself pointed out the quote: “In order to reach the forest it is necessary to go through the cabin”. Doblar la tierra What is the meaning of Doblar la tierra? It might be related to the motto written on the ribbon that opens and closes Javier Arce’s studio: retry the life experiment in the communal. The project itself takes the shape of an odd assemblage. Its elements consist of different independent works. At first sight, these works might seem unconnected in their formal materialization and in the references and ideas that they suggest: drawings with lines that reproduce adequate images such as a sculpture installed in the space, working as a mould for an engraving, a fragile model of a cabin’s structure, a book used as a measure to cut a piece of wood, or the video based on The Forest Passage by Ernst Jünger… However, under this pretended collision of ideas, forms, materials and elements, like latent footprints, sketched attractive conceptual lines appear with the potential to expand in multiple and stimulating directions. Doblar la tierra is a work in progress. At this stage, it manifests with a high degree of energy concentrated in every part of this obtusely processed jigsaw. Each part seems to possess the vocation to be the embryo of a succeeding development, like seminal thoughts chained with no need of a link, or like matter meteorite-shaped, which will explode and spread, creating new shapes and other images. The enigma of El Tercer paisaje I wonder, again, what is the lens that –all of a sudden- makes us see what we have seen day after day without seeing it. The first piece I can recall of this set is an enigma that challenged us from a quiet place where it sat for more than a year, on the wall at the deep end of the artist’s studio. It is a subtle and delicate piece. Its discrete presence persists in the memory thanks to its stealthy call to pay attention to it even briefly every time we visited the studio. It is associated to pending questions that have inexplicably never been formulated. Where does it come from? Why did it remain there? It is a drawing made up with lines done assembling small bars of charcoal that draw up an organic and simple geometry. The choice of materials creates very evocative and poetic relations. This fragile model was hanging over the dirty white background of the wall. It was attached to the wall with three long pins, bent with extreme precision, just enough to act as an invisible bracket, as minuscule clutches, creating a distance between the geometric structure and the wall, enough as to get a projection of a game of shadows swinging in the daylight. The model reproduces the structure of Prospect Cabin, Derek Jarman’s cabin in the south of England, not far from a nuclear power station where he created a beautiful cactus garden. It is inhabited by generations of spiders –weavers of threads that will intertwine new shapes. The enigma is the origin, the model of El tercer paisaje, which hosts the core of the project as a metaphore of the abstract landscape of imagination. (continue next page)   La cabaña que nos ocupa no es una guarida en la que esconderse o ese lugar romántico en el que encontrar refugio, inspiración, o buscar el aislamiento del mundo, la soledad. Por el contrario, es un espacio a la medida del cuerpo, de los cuerpos, y “la única manera de crear solidaridad y empatía es a través del cuerpo. Solidaridad es disfrutar del cuerpo del otro. Solidaridad no es un valor ético o político: es corporalidad”.[1] La cabaña es un lugar de libertad para el encuentro con los demás y con el mundo. El propio Arce me señaló la cita: “Para llegar al bosque es preciso atravesar la cabaña”.   Doblar la tierra ¿Qué significa Doblar la tierra? Quizás tiene que ver con el lema que aparece escrito en la cinta que abre y cierra la puerta del estudio de Javier Arce, que dice: volver a intentar el experimento vital en lo común. El proyecto en sí se configura como un particular assemblage, cuyos elementos consisten en varias obras independientes que, a primera vista, pueden parecer inconexas, tanto en cuanto a su materialización formal como en cuanto a las referencias e ideas que sugieren -dibujos de línea que reproducen imágenes apropiadas como: una escultura instalada en el espacio que sirve de matriz para un grabado; la frágil maqueta de la planta de una cabaña; un libro usado como medida para seccionar un trozo de madera; o en el vídeo basado en La emboscadura de Ernst Jünger... Sin embargo, bajo esa simulada colisión de ideas, formas, materiales y elementos, aparecen abocetadas, como huellas latentes, atractivas líneas conceptuales con potencialidad para expandirse en múltiples y estimulantes direcciones. Doblar la tierra es una obra en proceso y, en esta fase, se muestra con un alto grado de concentración de energía en cada una de las piezas que forman este simulado rompecabezas. Se aprecia en ellas una vocación de ser originarias de un desarrollo posterior, como pensamientos seminales encadenados sin necesidad de un nexo o masas de materia en forma de meteoritos que estallarán y se diseminarán creando nuevas formas y otras imágenes.   El enigma del Tercer paisaje Me pregunto, de nuevo, qué lente nos hace ver, de pronto, lo que hemos visto cada día, sin verlo. La primera pieza que recuerdo de este grupo es un enigma que nos cuestionaba desde un lugar de quietud en el que permaneció más de un año: la pared del fondo del estudio del artista. Se trata de una pieza delicada y sutil cuya presencia discreta persiste en la memoria gracias a su cautelosa llamada a fijar la vista, aunque fuera fugazmente, cada vez que visitábamos el estudio. Está asociada a preguntas pendientes pero que, sin razón comprensible, nunca han sido formuladas. ¿De dónde viene? Y ¿por qué ha permanecido ahí? Se trata de un dibujo de línea construido ensamblando pequeñas barras de carboncillo que delinean una geometría orgánica sencilla. La elección del material crea relaciones poéticas muy sugerentes. Esta frágil maqueta se encontraba suspendida sobre el fondo blanco sucio de la pared, unida al muro gracias a tres alfileres largos doblados con extrema precisión, justo lo necesario para desempeñar la función de soporte invisible, cual minúsculas muletas, creando una distancia entre el plano geométrico y la pared, lo suficiente para que se proyecte el juego de sombras que oscilaba con la luz del día. La maqueta reproduce la planta de Prospect Cottage, la cabaña de Derek Jarman en el sur de Inglaterra, no lejos de una central nuclear, donde creó un hermoso jardín de cactus. Está habitada por varias generaciones de arañas tejedoras de los hilos que entrelazarán nuevas formas. El enigma es el origen, la maqueta del Tercer paisaje, que acoge el corazón del proyecto como metáfora del paisaje abstracto de la imaginación. (continúa en la siguiente página)   [1] Erotic Uprising, or the Schooling of the Body, inteview with Franco Berardy by Willem van Weelden, Open, number 23, NAi PUblishers, Rotterdam, 2012. P. 37. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444043855687-QQGTEQHKLUK10S39PENY/3.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Doblar la Tierra. Installation view at Random Parts. Oakland, California.   Through the cabin Daily reality swings between the immaterial digital cloud accessible from the studio and the brightness of the clouds that can be seen from the mountain Alto de la Cruz. Although both provide us with information, I cannot stop recalling Jünger’s question in The Forest Passage: why today’s man believes what the newspapers say and does not believe what the stars say. Arce recovered the old door of his cabin: a rudimentary and solid door built with oak planks that he used later as a mould for a xylography. The lines of the gouge entangle with the natural grooves of the wood grain. On the surface, one perceives the simple space of the cabin and the rhythm of a forest, which is mixed up with the abstract pattern of the old oak skin. When the engraving is revealed on the paper, transmutation between the shapes of the drawing and those of the planks make the limits of the image disappear and the landscape of the cabin merge with the ancient and solid landscape of the wood. Distance and proximity: anything can depart. The sequoia and the eclipse The image shows the scene of the felling of a sequoia. It is presumably an engraving or a drawing of a North American landscape. An image from Internet, decontextualized and poor in quality, as any other of the billions floating in the cloud and that –despite globalization- will most probably come from two of the five continents. On top of this image (as in previous occasions), Arce superimposes a drawing that partly conceals the other one. It is a dark, graphite grey almost plain surface made with a repetitive set of vertical lines, each one less than three millimetres wide, and it makes the image look like a mechanical vintage print. It serves as a black curtain that eclipses or censors partially the scene. The act of opposing the scene with the felling of the sequoia and the life around the tree takes you to a romantic North American landscape, to the level of colour, making us think of the meditative spaces of abstraction. However, the interpretation should not be subdued to the dichotomy between the image of what “sublime romantic” is and what “sublime abstract” is. In my opinion, what seems to stand out more is the act of the artist to provide with time an image that already lost time. It is a micro-action of resistance. The recipient is the restored image and maybe the author in his quest of that trip that leads to abstraction through the long, repetitive and automatic task of drawing. Nature still provides the possibility to feel an impression, maybe not sublime anymore, but inquisitive about our existence, about our temporary presence. Yet, it is not possible to surrender to a naïve contemplation of the landscape or to the quest of an original or unique experience. The planet is unstoppably deprived of its natural resources. Undaunted, we contemplate how investors buy in the emerging countries vast croplands or big water supplies. It is well known that drinking water scarcity will be the main reason for war conflicts in the next fifty years. Forests are continuously cut down and burnt, and the Earth is being drilled with fracking fluids while we know it poisons the drinking water supplies. (continue next page)   A través de la cabaña La realidad cotidiana oscila entre la inmaterialidad de la nube digital accesible desde el estudio y la luminosidad de las nubes que se contemplan desde el Alto de la Cruz. Aunque ambas nos dan información, no puedo dejar de recordar la pregunta que Jünger se plantea en La emboscadura: ¿por qué el hombre de hoy cree lo que le dicen los periódicos y no cree lo que le dicen las estrellas? Arce ha recuperado el antiguo portón de su cabaña; una tosca y sólida puerta construida con tablas de madera de roble para emplearla como soporte matriz de un xilograbado. Las líneas de la gubia se enredan con los surcos naturales de la veta de la madera. Sobre la superficie se aprecia el volumen simple de la cabaña y se intuye el ritmo de un bosque alrededor, que se confunde con la trama abstracta de la vieja piel del roble. Al trasladar el grabado al papel, la transmutación entre las formas del dibujo y las de las tablas hace que desaparezcan los límites de la imagen y el paisaje de la cabaña se funde con el paisaje ancestral y sólido de la madera. La lejanía y la cercanía: una trama de la que puede partir todo.   La secuoya y el eclipse En la imagen, una escena ilustra la tala de una secuoya. Presumiblemente un grabado o un dibujo de paisaje norteamericano procedente de internet, descontextualizada y pobre en calidad, como cualquier otra de los billones que pueden flotar en la nube y que, a pesar de la globalización, lo más probable es que provengan en mayor medida de dos de los cinco continentes. Sobre esta, como ya ha resuelto en ocasiones anteriores, Arce superpone otro dibujo que oculta, solo en parte, el anterior. Se trata de una superficie casi plana, oscura, de color gris grafito, realizada mediante una trama repetitiva de renglones de líneas verticales, de no más de tres milímetros, que confiere a la imagen un aspecto de impresión mecánica “vintage”. Funciona como telón o cortina oscura que eclipsa o censura parcialmente la escena. A pesar de que el gesto de contraponer la escena de la tala de la secuoya y la vida que transcurre alrededor del árbol, remite al paisaje romántico norteamericano, al plano de color, que nos hace pensar en los espacios meditativos de la abstracción, no se debería reducir su lectura a la dicotomía entre la imagen de lo sublime romántico y lo sublime abstracto. Lo que resulta destacable en estos dibujos, a mi parecer, es el gesto del artista de conferir un tiempo a una imagen que ya lo ha perdido. Una micro acción de resistencia de la que se beneficia la imagen reconstruida y, quizás, el autor, al buscar el viaje que lleva a la abstracción a través de una tarea larga, repetitiva y automática del dibujo. La naturaleza nos ofrece aún la posibilidad de obtener una impresión, quizás no ya sublime, pero sí interrogadora acerca de nuestra existencia, de nuestra estancia pasajera. Sin embargo, no es posible abandonarse a la contemplación ingenua del paisaje o a la búsqueda de una experiencia original o única. Los recursos naturales del planeta siguen siendo expoliados sin freno. Contemplamos impávidos cómo los inversores adquieren inmensos terrenos de cultivo en los países emergentes así como las grandes reservas de agua. Es sabido que la escasez de agua potable será el principal motivo de conflictos bélicos en los próximos cincuenta años. Y se siguen talando y quemando los bosques y se perfora la tierra usando el fracking que sabemos envenena las reservas de agua potable. (continúa en la siguiente página) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1412879308746-UFRXFR5URQ3BFN0Q2MXS/1.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Doblar la Tierra. Video, 2014, 7 minutes   The Poor Man’s Friend The account of the previous story boosts the memory of the vast spaces of the North American landscape as a symbol of the national identity. But it also reminds us of the reality of the occupation of the natives’ lands and their displacement to the West. The image of the poster for the Log Cabin Campaign taken over by Arce, is one of those finds led by the algorithm of the unsettling factory of Silicon Valley. It is also wrapped with the generous information provided in the format of statistics graphics found in Wikipedia. In a few words: During the 1840 election in U.S., the conservative candidate William Henry Harrison stood for the elections as a war hero and as a friend of the poor; a man born in a cabin and who liked drinking beer. Thanks to this clever populist strategy he managed not only to avoid the problematic issue on slavery but also to win the elections. The artist has reproduced the poster for this campaign (using the previously described technique. He has decided to leave blank the space occupied by the face of the candidate. Blank spaces in Arce’s works do not equal to something erased but to the non-drawn. The absence is actually the fact that the face of any candidate could fit the void. When Jünger writes about the fragility of democracy in The Forest Passage, he reminds us that an election campaing is like a show[1] and, as such, it needs a stage for the show, a mise en scène, uniforms, atmosphere and a specific stage set up. In those first decades of the 19th century, with a very strong crisis and the drama of slavery as a backdrop, the stage was the cabin. A symbolic image that sways between the place for The Forest Passage and the violence of the settlements and occupied territories. Who is the passage flyer? For the making of the video Doblar la tierra, Arce intertwined images of the valley where his cabin sits with quotes taken from the book The Forest Passage by Ernst Jünger. This is an essay recovered at the right time because of its extremely radical relevance, if we think about the new repressive forms owned by the Establishment, quite related to the endless possibilities of surveillance, and if we think about the options we have of not becoming one of their victims. “Human beings are getting to a point where they are asked to create some documents that are calculated to provoke their own ruin”[2]. The Forest Passage is a call to resistance and to the defence of individual freedom against any form of oppression. The eye behind the camera, attentively, recognizes the surroundings of the cabin. This is due to a daily practise of paying attention to the details of shapes and movements. It belongs to somebody who does not allow himself to be surprised or seduced by the scenes surrounding them. This person does not look at them for the first time. On the contrary, he coexists with them and it seems that they help him to think. The rhythm of the sequences is natural and with ambient sound. It transmits the calmness and determination of a life choice already taken. This is the choice of freedom.(continue next page)   The Poor Man’s Friend La narración de la escena anterior realza la memoria de los espacios inconmensurables del paisaje norteamericano como símbolo de identidad nacional, pero también nos recuerda la realidad de la ocupación de las tierras de los nativos y su desplazamiento hacia el Oeste. La imagen apropiada por Arce del cartel de la Log Cabin Campaign es uno de esos hallazgos guiados por los algoritmos de la inquietante factoría de Silicon Valley. Está arropado, además, por la generosa información con formato de gráficos estadísticos que aparece al respecto en la Wikipedia. De modo sucinto: en las elecciones de 1840 en los Estados Unidos el candidato conservador William Henry Harrison se presentó en la campaña electoral como héroe de guerra y amigo de los pobres; un hombre nacido en una cabaña a quién le gusta beber cerveza. Con su acertada estrategia populista consiguió, no solo eludir el asunto conflictivo de la esclavitud sino ganar las elecciones. El artista ha reproducido el cartel de esta campaña (con la técnica de dibujo descrita anteriormente) y ha optado por dejar en blanco el espacio que ocupaba el rostro del candidato. El blanco, en la obra de Arce, no equivale a un borrado, sino a un no dibujado. La ausencia es la posibilidad, en realidad, el rostro de cualquier candidato podría encajar. Cuando Jünger escribe sobre la fragilidad de la democracia en La emboscadura nos recuerda que una campaña electoral es una representación[1] y, como tal, necesita un escenario para el espectáculo, una dirección de escena, uniformes, ambiente y una escenografía concreta. En aquellas primeras décadas del siglo XIX, años de fuerte crisis con el drama de la esclavitud de fondo, el escenario fue la cabaña. Una imagen simbólica que bandea entre el lugar para la emboscadura y la violencia de los asentamientos y los territorios ocupados.   ¿Quién es el emboscado? Para la realización del vídeo Doblar la tierra Arce ha entrelazado imágenes del valle donde está ubicada su cabaña con citas extraídas del libro La emboscadura de Ernst Jünger. Un ensayo oportunamente retomado y de radical actualidad si nos detenemos a reflexionar sobre las nuevas formas de opresión del poder relacionadas con su ilimitada capacidad de vigilancia, y sobre las posibilidades que tenemos de no convertirnos en sus víctimas. “El ser humano está llegando a una situación en la cual se le exige que él mismo genere unos documentos que están calcularos para provocar su ruina”[2]. La emboscadura es una llamada a la resistencia y a la defensa de la libertad individual frente a cualquier forma de opresión. El ojo que está detrás de la cámara reconoce el entorno de la cabaña, y está atento. Responde a una práctica cotidiana de la atención a los detalles de las formas y de los movimientos. Y pertenece a alguien que no se deja ni sorprender ni seducir por las escenas que le rodean, no las mira por primera vez. Por el contrario, cohabita con ellas y parece que le sirven para pensar. El ritmo de las secuencias es natural, con sonido ambiente. Transmite la quietud y la determinación de una elección vital que ya está tomada y es la opción de la libertad. (continúa en la siguiente página)   [1] Ernst Jünger: The Forest Passage. [2] Ernst Jünger: The Forest Passage. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1415090123879-5VC7C9D5OFZAJVLYAHLK/image-asset.jpeg Random Parts Gallery. San Francisco. Doblar la tierra. - Doblar la Tierra. Video. 7, 10 minutes, 2014   Poetry as a measure “Opening” is the word Arce uses to talk about this new period in his work: the opening of the field, according to the book that he used to make this unusual piece. The materials he used are a few small old oak beams from his cabin. They have been hand-sawed by the artist into small pieces, using the book The Opening of the Field, by Robert Duncan, as the measure. This performative gesture is a beautiful act of remembrance of the conversations he held in recent years with a friend, Kevin Power. For Kevin, Robert Duncan was an essential poet who was always present in his works. Going back to Jünger: “The poet helps the human being to find the way back to himself: he is a forest fleer”[1].Hence, it seems a good idea to return regularly towards poetry.   La poesía como medida Apertura es la palabra que Arce utiliza para hablar sobre esta nueva etapa en su trabajo. Apertura del campo según el título del libro que ha utilizado para realizar esta curiosa pieza. El material elegido son varias viguetas de madera vieja de roble, procedentes de su cabaña. Han sido serradas a mano por el artista en pequeños trozos, tomando como medida de corte el libro The Opening of the Field de Robert Duncan. Este gesto performático constituye un hermoso recuerdo a los diálogos y conversaciones que mantuvo en los últimos años con un amigo suyo, Kevin Power, para quien Robert Duncan fue un poeta de referencia, su poesía estuvo siempre presente en la obra de Power. Retomando a Jünger: “El poeta ayuda al ser humano a encontrar el camino de vuelta a sí mismo: él es un emboscado”[1]. Así, resulta una buena idea volverse a menudo hacia la poesía.   Pisueña, September 2014 Mónica Carballas   [1] Ernst Jünger: The Forest Passage. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1412878938339-5JQSNJM3ITRCRI6SUM3R/9.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Abriendo el campo de composicion. Cabin door and book, 110 x 230 x 15 cm. 2014.     https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444044070846-6F2C2A40F4S6D8LHX8R5/10.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Abriendo el campo de composicion (detail). cabin door and book, 110 x 230 x 15 cm. 2014. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1444043394863-9IOE79C9PVTV8JH94CYA/7.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Doblar la Tierra. Installation view at Random Parts. Oakland, California. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1412983383755-6N2FMVMMK8UQ3SGW7SSH/0.jpg Random Parts Gallery. San Francisco. Doblar la tierra. The Poor Man's Friend (Detail). Mechanical pencil on newsprint, 114 x 56 cm, 2014. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1412878960559-90UT4HRBI5LMT4WP2YFX/11.JPG Random Parts Gallery. San Francisco. Doblar la tierra. Ohlone Village. Installation view at Random Parts. Oakland, California. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1412878978136-I0117A5Y1BXVI2KW91U7/13.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Ohlone Village (detail). Xylografia, 2014 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1413341371224-TF8ZQCW92YDXVJ1SUK67/oholone-web.jpg Random Parts Gallery. San Francisco. Doblar la tierra. Ohlone Village. Print Xylografia, 2014. 50 x 70 cm. Ed. 5. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1412878995222-8UPWWZ755JI9EL170W2E/12.jpg Random Parts Gallery. San Francisco. Doblar la tierra. http://javierarce.net/eng daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509472260-GUMCFZ47M6LHXERA53FY/14.javier-arce-ENGAN%CC%83A.jpg Engaña. Imagen de la exposición Engaña, Galería Siboney. Santander. Instalación compuesta por fragmentos de cemento y hierro originales del Túnel de La Engaña, 2016.   El engaño y La Engaña La creatividad y sentido estético de Javier Arce, su percepción de la realidad histórica y su reconocida capacidad de translación figurada, es decir, metafórica, desvelan una actitud eminentemente conceptual, pese a que esta se materialice en último término de modo objetual, por medio de la instalación escenográfica y la exposición aparentemente convencional de cuadros referenciales de unos hechos históricos y de los lugares en que estos se produjeron. Esta actitud conceptual de Javier Arce, tanto en su obra pasada, como en la presente que ahora nos ocupa, hace que en todo momento la idea o ideas prevalezcan sobre lo formal y tangible, de manera, pues, que cada parte que compone la exposición Engaña posee un sentido específico, concatenándose cada una con la siguiente en un todo continuo alegórico. Javier Arce manifiesta formalmente el engaño en la muestra de la galería Siboney como un trompe l’oeil o trampantojo escenográfico, al superponer trozos del suelo original del túnel principal de La Engaña, pero también a través de las imágenes parietales que expone, las cuales desenmascaran el hecho relatado, es decir, el enorme y cruel “engaño” cometido durante la dictadura franquista al resucitar, iniciar, poner en práctica y seguir acometiendo durante dieciocho años (1941-1959) un viejo proyecto de principios del siglo XX que no era difícil intuir que no se iba a finalizar nunca, por la conjunción de múltiples factores en contra, como determinadas presiones políticas e interesadas previsiones económicas de algunos sectores decididos a que esto sucediera, además de desajustes y recortes presupuestarios, cambios de planes quinquenales, entre otros. Pero, sobre todo, su crueldad quedó y permanece bien patente para la Historia en el hecho de que el peso de la construcción de vías y túneles recaía en los primeros cinco años, entre 1941 y 1945, sobre los cansados hombros y encallecidas manos de presos políticos republicanos, tras una guerra que las fuerzas nacionalistas habían provocado, levantando en primer lugar, a modo de gulag, a uno y otro lado de las dos provincias de Santander y Burgos, sendos poblados vigilados y dotados de servicios, que incluían todo tipo de construcciones, como viviendas, barracones, escuelas y edificios de capillas religiosas. De este modo, pues, podemos concluir que a la finalidad original de la construcción de este último tramo del fracasado Ferrocarril Santander-Mediterráneo se sumó también la propia de un campo de concentración. Después del indulto de 1945, muchos de esos reclusos siguieron trabajando hasta 1959 a las órdenes de una empresa constructora civil que se hizo cargo de la continuación de las obras, empresa que aportó a su vez multitud de trabajadores inmigrantes que procedían del sur y centro de España, empujados por la pobreza y el hambre. No siendo este, pues, el lugar para seguir incidiendo sobre las consecuencias trágicas que se desprendieron de esta obra fracasada, sí es obligado manifestar que se produjeron muertes y graves enfermedades por su causa a lo largo de aquellos años. De lo anteriormente expuesto no es difícil deducir el sentido alegórico contenido en las obras de esta exposición: las que nos pudieren parecer meras acuarelas purpúreas, son verdaderas sanguinas en el significado más prístino u original de la palabra, pues están hechas con la propia sangre de Javier Arce. De ello hemos de colegir y entender la intención testimonial de homenaje por parte del artista a todos aquellos que sufrieron semejante experiencia, dando también cumplimiento a su compromiso con la memoria histórica. Otro aspecto formal importante y que también conviene subrayar, pues es parte de la anteriormente aludida concatenación alegórica de elementos, es que los marcos de las obras están conformados con maderas de árboles autóctonos que crecen en la región pasiega del túnel, como son el castaño, el haya, el roble, el arce y el tejo, entre otros, hasta completar una larga decena. Hay que entender, sin embargo, que Engaña no es una exposición descriptiva gráficamente de una historia del pasado, ni solamente testimonial, ya que el testimonio está implícito, sino una muestra dedicatoria y comprometida, en la que todos sus componentes, y en especial las magníficas imágenes de las “sanguinas”, están dotados de una extraordinaria fuerza expresiva, inquietante y conmovedora.   Fernando Zamanillo Peral https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454580501182-TCYXLIG84EOZQQ9HNVU7/14.javier-arce-ENGAN%CC%83A.jpg Engaña. Imagen de la exposición Engaña, Galería Siboney. Santander. 2016. Instalación compuesta por fragmentos del suelo original del Túnel de La Engaña, material cemento y hierro. Image of the exhibition Engaña, Siboney Gallery. Santander. 2016 Installation consisting of fragments of the original floor Engaña Tunnel, cement and iron material. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509415839-BQ5ZXHHT0UIZ01H6A0HK/14.javier-arce-ENGAN%CC%83A.jpg Engaña. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509472260-GUMCFZ47M6LHXERA53FY/14.javier-arce-ENGAN%CC%83A.jpg Engaña. Imagen de la exposición Engaña, Galería Siboney. Santander. Instalación compuesta por fragmentos de cemento y hierro originales del Túnel de La Engaña, 2016.   El engaño y La Engaña La creatividad y sentido estético de Javier Arce, su percepción de la realidad histórica y su reconocida capacidad de translación figurada, es decir, metafórica, desvelan una actitud eminentemente conceptual, pese a que esta se materialice en último término de modo objetual, por medio de la instalación escenográfica y la exposición aparentemente convencional de cuadros referenciales de unos hechos históricos y de los lugares en que estos se produjeron. Esta actitud conceptual de Javier Arce, tanto en su obra pasada, como en la presente que ahora nos ocupa, hace que en todo momento la idea o ideas prevalezcan sobre lo formal y tangible, de manera, pues, que cada parte que compone la exposición Engaña posee un sentido específico, concatenándose cada una con la siguiente en un todo continuo alegórico. Javier Arce manifiesta formalmente el engaño en la muestra de la galería Siboney como un trompe l’oeil o trampantojo escenográfico, al superponer trozos del suelo original del túnel principal de La Engaña, pero también a través de las imágenes parietales que expone, las cuales desenmascaran el hecho relatado, es decir, el enorme y cruel “engaño” cometido durante la dictadura franquista al resucitar, iniciar, poner en práctica y seguir acometiendo durante dieciocho años (1941-1959) un viejo proyecto de principios del siglo XX que no era difícil intuir que no se iba a finalizar nunca, por la conjunción de múltiples factores en contra, como determinadas presiones políticas e interesadas previsiones económicas de algunos sectores decididos a que esto sucediera, además de desajustes y recortes presupuestarios, cambios de planes quinquenales, entre otros. Pero, sobre todo, su crueldad quedó y permanece bien patente para la Historia en el hecho de que el peso de la construcción de vías y túneles recaía en los primeros cinco años, entre 1941 y 1945, sobre los cansados hombros y encallecidas manos de presos políticos republicanos, tras una guerra que las fuerzas nacionalistas habían provocado, levantando en primer lugar, a modo de gulag, a uno y otro lado de las dos provincias de Santander y Burgos, sendos poblados vigilados y dotados de servicios, que incluían todo tipo de construcciones, como viviendas, barracones, escuelas y edificios de capillas religiosas. De este modo, pues, podemos concluir que a la finalidad original de la construcción de este último tramo del fracasado Ferrocarril Santander-Mediterráneo se sumó también la propia de un campo de concentración. Después del indulto de 1945, muchos de esos reclusos siguieron trabajando hasta 1959 a las órdenes de una empresa constructora civil que se hizo cargo de la continuación de las obras, empresa que aportó a su vez multitud de trabajadores inmigrantes que procedían del sur y centro de España, empujados por la pobreza y el hambre. No siendo este, pues, el lugar para seguir incidiendo sobre las consecuencias trágicas que se desprendieron de esta obra fracasada, sí es obligado manifestar que se produjeron muertes y graves enfermedades por su causa a lo largo de aquellos años. De lo anteriormente expuesto no es difícil deducir el sentido alegórico contenido en las obras de esta exposición: las que nos pudieren parecer meras acuarelas purpúreas, son verdaderas sanguinas en el significado más prístino u original de la palabra, pues están hechas con la propia sangre de Javier Arce. De ello hemos de colegir y entender la intención testimonial de homenaje por parte del artista a todos aquellos que sufrieron semejante experiencia, dando también cumplimiento a su compromiso con la memoria histórica. Otro aspecto formal importante y que también conviene subrayar, pues es parte de la anteriormente aludida concatenación alegórica de elementos, es que los marcos de las obras están conformados con maderas de árboles autóctonos que crecen en la región pasiega del túnel, como son el castaño, el haya, el roble, el arce y el tejo, entre otros, hasta completar una larga decena. Hay que entender, sin embargo, que Engaña no es una exposición descriptiva gráficamente de una historia del pasado, ni solamente testimonial, ya que el testimonio está implícito, sino una muestra dedicatoria y comprometida, en la que todos sus componentes, y en especial las magníficas imágenes de las “sanguinas”, están dotados de una extraordinaria fuerza expresiva, inquietante y conmovedora.   Fernando Zamanillo Peral https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509525998-KA2C04PAS3BBG90N92LT/9.javier-arce-ENGAN%CC%83A.jpg Engaña. ENGAÑA (Bosque y barracones). Sangre mía sobre papel Hahnemühle, marco madera de Tilo. 36,5 x 49 cm. 2015. ENGAÑA (BOSQUE Y BARRACONES). My blood on Hahnemühle paper, wood frame Tilo.36,5 x 49 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509571092-0J53EVS61AW9YMKCS8F9/2.javier-arce-ENGAN%CC%83A%28Vista-desde-los-barracones%29.jpg Engaña. ENGAÑA (Vista desde los barracones). Sangre mía sobre papel Hahnemühle, marco madera de Nogal. 36,5 x 49 cm. 2015. ENGAÑA (Vista desde los barracones). My blood on Hahnemühle paper, wood frame Nogal. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509614433-9BACTI2MRB9E9EFM6PNU/3.javier-arce-engan%CC%83a.jpg Engaña. ENGAÑA (Obreros del túnel de La Engaña). Sangre mía sobre papel Hahnemühle, marco madera de Arce. 50 x 36,5 cm. 2015. ENGAÑA (Obreros del túnel de La Engaña). My blood on Hahnemühle paper, wood frame Arce. 50 x 36,5 cm. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509659204-Q3RDB4VW18E89V69ND8C/12.0.javier-arce-ENGAN%CC%83A.jpg Engaña. ENGAÑA (El puño de Jacobo Roldan Losada). Díptico. Sangre mía sobre papel Hahnemühle, marco madera de Eucalipto 30 x 37 cm. Marco madera de Tejo 28,5 x 31 cm. ENGAÑA (El puño de Jacobo Roldan Losada). Diptych. My blood on Hahnemühle paper, wood frame Eucalyptus. 30 x 37 cm. wood frame yew 28,5 x 31 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509709810-QPQ97KBRRC9AIVJ2BG81/5.javier-arce-ENGAN%CC%83A-%28apuntalamiento%29.jpg Engaña. ENGAÑA (apuntalamiento). Sangre mía sobre papel Hahnemühle, marco madera Castaño. 37,5 x 49 cm. 2015. ENGAÑA (apuntalamiento). My blood on Hahnemühle paper, wood frame chestnut.37,5 x 49 cm. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509747325-4EF6C4K529TXL9U4U7B0/6.javier-arce-ENGAN%CC%83A%28Equipo-de-avance-durante-la-perforacio%CC%81n-del-tu%CC%81nel-desde-la-boca-sur%29.jpg Engaña. ENGAÑA (Equipo de avance durante la perforación). Sangre mía sobre papel Hahnemühle, marco madera de Abedul. 37,5 x 48 cm. 2016. ENGAÑA (Equipo de avance durante la perforación). My blood on paper Hahnemühle, Birch wood frame.37,5 x 48 cm. 2016. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509783066-R8G1L0K2E6U2BXTSREHZ/7.javier-arce-ENGAN%CC%83A%28derrumbe-a-5-kilometros%29.jpg Engaña. ENGAÑA (Derrumbe a 5 kilómetros). Sangre mía sobre papel Hahnemühle, marco madera de Fresno. 37,5 x 49,5 cm. 2015. ENGAÑA (Derrumbe a 5 kilómetros). My blood on Hahnemühle paper, wood frame ash tree. 37,5 x 49,5 cm. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509826430-5YTZI33FON5JRR11U7WL/10.javier-arce-ENGAN%CC%83A.jpg Engaña. ENGAÑA (Tapar y construir). Sangre mía sobre papel Hahnemühle, marco madera de Roble. 28 x 38 cm. 2015. ENGAÑA(Tapar y construir). My blood on paper Hahnemühle, Oak wood frame. 28 x 38 cm. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509869966-9B6VKC7NQOQUGC80BKEA/11.0.javier-arce-ENGAN%CC%83A.jpg Engaña. ENGAÑA (Capilla). Díptico. Sangre mía sobre papel Hahnemühle, marco madera de Haya 37 x 31 cm y Nogal37 x 31 cm. 2015. ENGAÑA (Capilla). Diptych. My blood on Hahnemühle paper, wood frame Hague 37 x 31 cm and walnut 37 x 31 cm. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509909303-YDPBOZ17YAD3BV9Z0EFB/8.javier-arce-ENGAN%CC%83A%28Poblado-de-La-Engan%CC%83a-en-la-boca-sur%29.jpg Engaña. ENGAÑA (Poblado de La Engaña en la boca sur). Sangre mía sobre papel Hahnemühle, marco madera de Haya. 31,5 x 40 cm. 2015. ENGAÑA(Poblado de La Engaña en la boca sur). My blood on Hahnemühle paper, wood frame Hague. 31,5 x 40 cm. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454509990656-YPNR4MTR3O9LFS1TULER/1.-javier-arce-ENGAN%CC%83A%28Playa-de-vi%CC%81as-del-Santander-Mediterra%CC%81neo%29.jpg Engaña. ENGAÑA (Playa de vías del Santander-Mediterráneo). Sangre mía sobre papel Hahnemühle, marco madera de Olmo. 36,3 x 48,5 cm. 2015. ENGAÑA (Playas de vías del Santander-Mediterraneo). My blood on Hahnemühle paper, wood frame elm. 36,3 x 48,5 cm. 2015. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1454510010710-8164ZA9OVN24MQPY2TII/4.javier-arce-ENGAN%CC%83A%28Funeral%29.jpg Engaña. ENGAÑA (Funeral). Sangre mía sobre papel Hahnemühle, marco madera de Eucalipto. 30 x 33 cm. 2016. ENGAÑA (Funeral). My blood on Hahnemühle paper, wood frame Eucalyptus. 30 x 33 cm. 2016. http://javierarce.net/dibujado-en-el-polvo-en-lo-movedizo daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469118379837-Z8YLJL4XU0AYOXX57CSW/1Dibujado-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469118379837-Z8YLJL4XU0AYOXX57CSW/1Dibujado-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469118871937-TMGZIHSWZYQQZFCW7VIP/2Dibujado-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469118945427-SL5Q2C40N99JPRPZHCHJ/3Dibujado-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469119004060-06A104T7Y5GMXOYBFIS7/4Dibujado-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469119673790-9S9VNNTSVIU7QQMBCDUV/12Dibujado-en-el-plvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469119062024-EHXEF8CU0M5M5TRH5ECM/6Dibujado-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469119115154-Z6T260S92G33UTFAP2MY/7Dibujaod-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469119174047-2OTZLWFDGGM9HEYD0ILO/8Dibujado-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469119241807-LCXHMT1DBDYUFQXTS8OC/9Dibujaod-en-el-polvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1469119297727-LWWJYK28S4WSVIIB2BOJ/11Dibujado-en-el-plvo_javier-arce_low.jpg Dibujado en el polvo, en lo movedizo. Dibujado en el polvo, en lo movedizo, 2016. Aceite usado de barco sobre lino, lona, mesa de madera, hachis, tetera y tazas japonesas, postal, cuento. Palacio Consistorial, Cartagena (España). Dibujado en el polvo, en lo movedizo, 2016. Boat used oil on linen, sailcloth, wooden table, hashish, tea and Japanese Mugs, postcard, tale. Palacio Consistorial, Cartagena (Spain). http://javierarce.net/micropoliticas daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475508728688-W7ZJKMTC2KPCS0SGP0HF/Javier+Arce_Micropolitica%231.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA # 1, 2016. Hoja de palmera, fotografía estenopeica gelatina de plata sobre papel baritado, vaso del Bar "El Chato Peces", ginebra con tónica y limón. 250 x 70 x 10 cm. MICROPOLÍTICA # 1, 2016. Palm Leaf, pinhole photography on baryta silver gelatin paper, glass of the Bar "El Chato Fish" gin and tonic and lemon. 250 x 70 x 10 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475508728688-W7ZJKMTC2KPCS0SGP0HF/Javier+Arce_Micropolitica%231.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA # 1, 2016. Hoja de palmera, fotografía estenopeica gelatina de plata sobre papel baritado, vaso del Bar "El Chato Peces", ginebra con tónica y limón. 250 x 70 x 10 cm. MICROPOLÍTICA # 1, 2016. Palm Leaf, pinhole photography on baryta silver gelatin paper, glass of the Bar "El Chato Fish" gin and tonic and lemon. 250 x 70 x 10 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475510622730-EXC8JPJ0NJCTUZKWHS6S/Javier+Arce_Micropoliticas%230.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA # 1, 2016. Hoja de palmera, fotografía estenopeica gelatina de plata sobre papel baritado, vaso del Bar "El Chato Peces", ginebra con tónica y limón. 250 x 70 x 10 cm. MICROPOLÍTICA # 1, 2016. Palm Leaf, pinhole photography on baryta silver gelatin paper, glass of the Bar "El Chato Fish" gin and tonic and lemon. 250 x 70 x 10 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475508788383-RC136SXNGL68LM5AZHZA/javier-Arce-Micropolitica%231-detalle-2.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA # 1 (Detalle), 2016. Hoja de palmera, fotografía estenopeica gelatina de plata sobre papel baritado, vaso del Bar "El Chato Peces", ginebra con tónica y limón. 250 x 70 x 10 cm. MICROPOLÍTICA # 1 (Detail), 2016. Palm Leaf, pinhole photography on baryta silver gelatin paper, glass of the Bar "El Chato Fish" gin and tonic and lemon. 250 x 70 x 10 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475567273165-GLSPDOVX8C0DI1SH0WLJ/Javier-Arce_Micropoliticas%2311.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA # 1, 2016. Hoja de palmera, fotografía estenopeica gelatina de plata sobre papel baritado, vaso del Bar "El Chato Peces", ginebra con tónica y limón. 250 x 70 x 10 cm. MICROPOLÍTICA # 1, 2016. Palm Leaf, pinhole photography on baryta silver gelatin paper, glass of the Bar "El Chato Fish" gin and tonic and lemon. 250 x 70 x 10 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475508831294-V880QLE1DJ8N20C6F36Y/Javier-Arce_Micropolitica%235.1.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA # 2, 2016. Maceta con planta semi-seca de la Casa, 20 x 40 x 20 cm. MICROPOLÍTICA # 2, 2016 Flowerpot with semi-dry flower of the House, 20 x 40 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475508922569-CATR79MZUB1MU2MZ6WCB/Javier-Arce-Micropolitica%234.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLITICA # 3, 2016. Árbol seco, fotografía estenopeica gelatina de plata sobre papel baritado, 250 x 100 x 70 cm. MICROPOLÍTICA # 3, 2016. Dry tree, pinhole photography baryta silver gelatin on paper, 250 x 100 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475508896497-HT037OGS03VM2S4I7MZ9/Javier-Arce-Micropolitica%234-detalle.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLITICA # 3 (Detalle), 2016. Árbol seco, fotografía estenopeica gelatina de plata sobre papel baritado, 250 x 100 x 70 cm. MICROPOLÍTICA # 3 (Detail), 2016. Dry tree, pinhole photography baryta silver gelatin on paper, 250 x 100 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475508873954-W2R0CV1EC9TM8MD5PHJV/Javier+Arce_Micropoliticas%238.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLITICA # 3 (Detalle), 2016. Árbol seco, fotografía estenopeica gelatina de plata sobre papel baritado, 250 x 100 x 70 cm. MICROPOLÍTICA # 3 (Detail), 2016. Dry tree, pinhole photography baryta silver gelatin on paper, 250 x 100 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475509012397-BCKHMI0VJBTGZB5L5RY1/Javier-Arce-Micropolitica%233-lateral.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA#4, 2016. Navaja de La Fragua, fotografía estenopeica gelatina de plata sobre papel baritado. 20 x 40 x 20 cm. MICROPOLÍTICA#4, 2016. La Fragua´s knife, pinhole photography on baryta silver gelatin paper. 20 x 40 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475513810142-PV4O683HUQG1TBNAC4ZM/Javier+Arce_Micropolitica%233+frontal.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA # 4, 2016. Navaja de La Fragua, fotografía estenopeica gelatina de plata sobre papel baritado. 20 x 40 x 20 cm. MICROPOLÍTICA # 4, 2016. La Fragua´s knife, pinhole photography on baryta silver gelatin paper. 20 x 40 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475513913252-G2KDXZX5IISH09PULAN4/Javier-Arce_Micropolitica%236.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPOLÍTICA # 5, 2016. Cactus y sandía de la huerta de La Fragua. 30 x 70 x 20 cm. MICROPOLÍTICA # 5, 2016. Cactus and watermelon from La Fragua´s garden. 30 x 70 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475509147873-XYONA2QL21BHBE5R6MBR/Javier-Arce_Micropoliticas%239.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPILÍTICA # 6 (Detalle), 2016. Tinajas de Hipolito, mapa de la Provincia de Santander, fotografía estenopeica gelatina de plata sobre papel baritado. 15 x 60 x 90 cm. MICROPOLÍTICA # 6 (Detail), 2016. Hipolito Tinajas map of the Province of Santander, pinhole photography on baryta silver gelatin paper. 15 x 60 x 90 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475509187922-GY3OTZ5L5629V79GW0BP/Javier+Arce_Micropolitica%237.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPILÍTICA # 6 (Detalle), 2016. Tinajas de Hipolito, mapa de la Provincia de Santander, fotografía estenopeica gelatina de plata sobre papel baritado. 15 x 60 x 90 cm. MICROPOLÍTICA # 6 (Detail), 2016. Hipolito Tinajas map of the Province of Santander, pinhole photography on baryta silver gelatin paper. 15 x 60 x 90 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475509249653-49OPRHC9GITSG6KVFH0X/Javier-Arce_Micropolitica%237-mapa.jpg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPILÍTICA # 6 (Detalle), 2016. Tinajas de Hipolito, mapa de la Provincia de Santander, fotografía estenopeica gelatina de plata sobre papel baritado. 15 x 60 x 90 cm. MICROPOLÍTICA # 6 (Detail), 2016. Hipolito Tinajas map of the Province of Santander, pinhole photography on baryta silver gelatin paper. 15 x 60 x 90 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1475567752853-L8N3UHGXY2JZ0GKV4VNQ/Escanear+2.jpeg Centro de Arte Pepe Espaliu. Córdoba. Mi casa es tu casa. MICROPILÍTICA # 6 (Detalle), 2016. Tinajas de Hipolito, mapa de la Provincia de Santander, fotografía estenopeica gelatina de plata sobre papel baritado. 15 x 60 x 90 cm. MICROPOLÍTICA # 6 (Detail), 2016. Hipolito Tinajas map of the Province of Santander, pinhole photography on baryta silver gelatin paper. 15 x 60 x 90 cm. http://javierarce.net/new-gallery-2 daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498833150069-3BRMSFA8T02K4WI4UQDE/n-1_web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498833150069-3BRMSFA8T02K4WI4UQDE/n-1_web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498833980948-KGN2OGSV0FB0XCBTC50B/n-2-Javier-arce_web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498834223464-89ZXBO44FP72XG6YOY31/ja005-1_Javier-arce_web.jpg Galería The Goma. Madrid. Doblar la tierra. Keep politics out of this picture #2, 2013. Leche pura de vaca, servilleta Dia Beacon, cristal. 12 x 22 x 11 cm. Keep politics out of this picture #2, 2013. Raw cow's milk, Dia Beacon napkin, glass 12 x 22 x 11 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498834558876-IH1BY9KQ4E5IR38QQJ78/ja005-3_javier-arce_web.jpg Galería The Goma. Madrid. Doblar la tierra. Keep politics out of this picture #2, 2013. Leche pura de vaca, servilleta Dia Beacon, cristal. 12 x 22 x 11 cm. Keep politics out of this picture #2, 2013. Raw cow's milk, Dia Beacon napkin, glass. 12 x 22 x 11 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498834787340-AY0RHMDGC5NHZR6OSIR1/Autopensante-.jpg Galería The Goma. Madrid. Doblar la tierra. Autopensante SMSB, 2017. Palo de madera cubierto de trapos con pintura Manuel Saro, Miki leal, Santiago Giralda y Belén, muelle. 357 x 3 x 3 cm. Belén. Autopensante SMSB, 2017. Wooden stick covered with rags with paint Manuel Saro, Miki Leal, Santiago Giralda y Belén, bouncy. 357 x 3 x 3 cm. Belén. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498835465241-SQGS3ZIM3A4180YF04CT/Sin-ti%CC%81tulo-1_javier-arce_web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498835654848-8OKBYJ31778O61FFSDDP/ja010_javier-arce_web.jpg Galería The Goma. Madrid. Doblar la tierra. Paisaje político (Bosque y fuego), 2017. Grafito sobre papel prensa. 50 x 62 cm. Paisaje político (Bosque y fuego), 2017. Graphite on newsprint paper. 50 x 62 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498836212892-NMM5TMYY9UNO67NBDY73/n-6_javier-arce_web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498836361524-6H36M90OT0HYXSW4DZYG/way-of-living_javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Way of living, 2006. Betacam transferido a vídeo digital. 10'16''. Way of living, 2006. Betacam transfered to digital video. 10'16''. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498836655110-3OYK9P1B9HKBS99AX5BX/Sin-ti%CC%81tulo-1_javer-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498836897559-2K100529RXBNSFV9PUEF/Sin-ti%CC%81tulo-1_javier-arce_web_gris-1.jpg Galería The Goma. Madrid. Doblar la tierra. Gris #1, 2017. Grafito y ceniza de madera sobre papel prensa. 46 x 32,5 cm. Gris #1, 2017. Graphite and wood ash on newsprint paper. 46 x 32,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498837146672-4LNJNO2QS3BH2JO71XWW/n-10_javier-arce_web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498837376447-NT0W81QKI2ZQ9W3Z296V/ja004-1_javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. El tercer paisaje, 2014-2017. Carboncillo, alambre, arañas. 26 x 26 x 5 cm. El tercer paisaje, 2014-2017. Charcoal, wire, spiders. 26 x 26 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498838518373-6O41FDP9N47FPIBJB9EB/ja004-2_javier-arce_web.jpg Galería The Goma. Madrid. Doblar la tierra. El tercer paisaje, 2014-2017. Carboncillo, alambre, arañas. 26 x 26 x 5 cm. (detalle). El tercer paisaje, 2014-2017. Charcoal, wire, spiders. 26 x 26 x 5 cm. (detail). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498838805488-VTS0SA7DX14HRUTPICI2/Sin-ti%CC%81tulo-1_javier-arce_web-tercer.jpg Galería The Goma. Madrid. Doblar la tierra. El tercer paisaje, 2014-2017. Carboncillo, alambre, arañas. 26 x 26 x 5 cm. (detalle). El tercer paisaje, 2014-2017. Charcoal, wire, spiders. 26 x 26 x 5 cm. (detail). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498840050620-MSDWO0EBST6OZ9EJ1QNU/n-18-javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498839743422-Q0NQ0LXZELP6J1IYU4BQ/Sin-ti%CC%81tulo-1_Javier-arce-web-artist-ruan.jpg Galería The Goma. Madrid. Doblar la tierra. Artist-run space of the future, 2016. Grafito sobre papel prensa, grabado láser. 33,5 x 25 cm. (reverso). Artist-run space of the future, 2016. Graphite on newsprint paper, laser woodcut. 33,5 x 25 cm (front side). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498839414670-EVPYOX9Q43DC85TEL4ZO/Sin-ti%CC%81tulo-1_javier-arce-web-astist.jpg Galería The Goma. Madrid. Doblar la tierra. Artist-run space of the future, 2016. Grafito sobre papel prensa, grabado láser. 33,5 x 25 cm. (reverso). Artist-run space of the future, 2016. Graphite on newsprint paper, laser woodcut. 33,5 x 25 cm (back side). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498840220087-A9P8WOP5G3IL6KLCDVCR/n-19-javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498841745566-2RP5T5I2J40TIRU2A7QO/8-javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498842030156-BCSXK9SQSRILEFBHRYLO/ja008-1-javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Une autre facón de raconter, 2017. Libro intervenido, madera. 20 x 34,5 x 4,5 cm. Une autre facón de raconter, 2017. Folded book, wood. 20 x 34,5 x 4,5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498842297395-0GO0UMFPN1S4GCI5IRIB/ja013-javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Gris #2, 2017. Grafito y ceniza de madera sobre papel prensa. 46 x 32,5 cm. Gris #2, 2017. Graphite and wood ash on newsprint paper. 46 x 32,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498842621197-GF2LWZJ6914DIPTZAZVC/Sin-ti%CC%81tulo-1-javier-arce-web-pastpr.jpg Galería The Goma. Madrid. Doblar la tierra. Sin título, 2017. Alambre, pastor eléctrico, hierba. Medidas variables. Sin título, 2017. Electric fence, blade. Variable dimensions. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498842942562-FGJ7V3BDO85N7IBYJNIS/Sin-ti%CC%81tulo-1-javier-arce-hierba.jpg Galería The Goma. Madrid. Doblar la tierra. Sin título, 2017. Alambre, pastor eléctrico, hierba. Medidas variables. (detalle). Sin título, 2017. Electric fence, blade. Variable dimensions. (detail). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498843122514-PJ4SOTPKNBQDKB1WIBVD/ja007-3-javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Sin título, 2017. Alambre, pastor eléctrico, hierba. Medidas variables. (detalle). Sin título, 2017. Electric fence, blade. Variable dimensions. (detail). https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498843264816-20VEJB4DIZXTSYFU6F16/2-javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Vista de la exposición Doblar la tierra. Galería The Goma, Madrid. Exhibition view Doblar la tierra. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1498843432370-97I1DXENZSXF3OL60N16/ja011-javier-arce-web.jpg Galería The Goma. Madrid. Doblar la tierra. Paisaje político (Los Altrancos), 2017. Grafito sobre papel prensa. 45 x 60 cm. Paisaje político (Los Altrancos), 2017. Graphite on newsprint paper. 45 x 60 cm. http://javierarce.net/orden-natural daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507549054677-OPK9XNK6JOJQ886H6E51/1.Vista-general-Javier-Arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507549054677-OPK9XNK6JOJQ886H6E51/1.Vista-general-Javier-Arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507553632101-RUZLQDB3CD64BTK9TBDQ/2.1.Contrato-natural%232.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Contrato natural #2, 2017. Frottage sobre papel de arroz, plástico de ensilar. 40 x 22 cm. Contrato natura #2, 2017. Frottage on rice paper and stretch film wrapping paper to store in the silo. 40 x 22 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507553793950-MMH2C3L5ATV8707HQ5AO/4.Vista-general-Orden-Natural-Javier-Arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507553855392-H9ZDV4SHPHEG28UG75XS/3.Abriendo-el-campo-de-composicion.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Abriendo el campo de composición, 2014. Puerta de mi cabaña, libro de poemas The Opening of the Field, de Robert Duncan 11 x 230 x 15 cm. Abriendo el campo de composición, 2014. My cabin´s wooden door, book of poems The Opening of the Field, by Robert Duncan. 11 x 230 x 15 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507548126843-Q0H79NEITUYNHWVLTKV1/1.Vista-general-Javier-Arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507553907995-D5Y94WT9G8XUN5G79CTN/6.Vista-general-Orden-Natural-Javier-Arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507553940498-ZM5G4VLY36V9GHAYOMCK/7.piedra-new-yorker-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Keep politics out of this picture #1, 2013. Material de derribo de mi cabaña (piedra) y revista The New Yorker. 23 x 70 x 40 cm. Keep politics out of this picture #1, 2013. Waste material of my cabin (stone) and The New Yorker Magazine. 23 x 70 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507553976945-3RVQDJV04OETZJGCBT4L/18.gris%234-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. GRIS #4, 2017. Grafito y ceniza de madera sobre papel prensa, marco de madera de roble natural. 46 x 32,5 cm. GRIS #4, 2017. Graphite and wood ash on newsprint paper, pure oak frame. 46 x 32.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554014867-JLUE9A19EVPOAY2LP1NT/9.Contrato-Natural%231.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Contrato natural #1, 2017. Frottage sobre papel de arroz, plástico de ensilar. 320 x 200 x 20 cm. Contrato natural #1, 2017. Frottage on rice paper and stretch film wrapping paper to store in the silo. 320 x 200 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554073529-CBWXJE35OR3AXMA2Y75I/Contrato-natural%231--detalle.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Contrato natural #1 (Detalle), 2017. Frottage sobre papel de arroz, plástico de ensilar. 320 x 200 x 20 cm. Contrato natural #1 (Detail), 2017. Frottage on rice paper and stretch film wrapping paper to store in the silo. 320 x 200 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554109737-3ZVK78BN42MSN9ECLEVK/8.Vista-general-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507218701864-PEF2RPUSYVHSL3YMOQ2Q/1.Gezi-Taksim-%28Parque%29-Javier-Arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Gezi Taksim (Parque), 2015. Grafito sobre papel prensa. 137 x 200 x 5 cm. Gezi Taksim (Parque), 2015. Graphite on newsprint paper. 137 x 200 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554180754-LU4KIOORN7RAHMCSJEZY/13.Vista-general-Javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554254538-KUY7Z66GCTLU79QSD60B/16.-madera-y-herodoto-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Keep politics out of this picture #3, 2013. Material de derribo de mi cabaña (madera) y revista Hérodote. 10 x 150 x 30 cm. Keep politics out of this picture #3, 2013. Waste material of my cabin (wood) and Hérodote magazine. 10 x 150 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554305447-TFN7ML3QFC3GGMP9GCHQ/21.arbol-seco-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Micropolitica #3, 2016. Árbol seco, fotografía estenopeica sobre papel baritado de gelatina de plata. 250 x 100 x 70 cm. Micropolítica #3, 2016. Dry tree, pinhole photography on baryta silver gelatin paper. 250 x 100 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554358140-PGEVD86J8IJLNCXU94UF/Javier-Arce-Micropolitica%234-detalle.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Micropolitica #3 (Detalle), 2016. Árbol seco, fotografía estenopeica sobre papel baritado de gelatina de plata. 250 x 100 x 70 cm. Micropolítica #3 (Detail), 2016. Dry tree, pinhole photography on baryta silver gelatin paper. 250 x 100 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576175825296-PYUNB3NMQRYYNA0FMEDD/14.-grises-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. GRIS #5, 2017. Grafito y ceniza de madera sobre papel prensa, marco de madera de roble natural. 46 x 32,5 cm. GRIS #5, 2017. Graphite and wood ash on newsprint paper, pure oak frame. 46 x 32.5 cm. GRIS #6, 2017. Grafito y ceniza de madera sobre papel prensa, marco de madera de roble natural. 46 x 32,5 cm. GRIS #6, 2017. Graphite and wood ash on newsprint paper, pure oak frame. 46 x 32.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554402909-P3QIIC86GHICBZFEOY8J/10.I-AM-WHAT-I-AM-Javier-Arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. I AM WHAT I AM / MA I TAHW MA I, 2015. Instalación compuesta por tronco de roble, impresión tipográfica, ejemplar de La insurrección que viene del colectivo El Comité invisible, barra de acero. 110 x 230 x 110 cm. 50 x 70 cm. I AM WHAT I AM / MA I TAHW MA I, 2015. Action with oak trunk, typographic print, copy of The Coming of Insurrection by The Invisible Committee, steel bar. 110 x 230 x 110 cm. 50 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554485099-RMN7E33BH0ZOXJEW3X3F/2.Impresion-colectiva.jpg Centro de Arte Alcobendas. Madrid. Orden natural. I AM WHAT I AM / MA I TAHW MA I, 2015. Instalación compuesta por tronco de roble, impresión tipográfica, ejemplar de La insurrección que viene del colectivo El Comité invisible, barra de acero. 110 x 230 x 110 cm. 50 x 70 cm. I AM WHAT I AM / MA I TAHW MA I, 2015. Action with oak trunk, typographic print, copy of The Coming of Insurrection by The Invisible Committee, steel bar. 110 x 230 x 110 cm. 50 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554515119-JD2PHO8S71V7YBEXMS6I/3.JAVIER+ARCE.Impresion.jpg Centro de Arte Alcobendas. Madrid. Orden natural. I AM WHAT I AM / MA I TAHW MA I, 2015. Instalación compuesta por tronco de roble, impresión tipográfica, ejemplar de La insurrección que viene del colectivo El Comité invisible, barra de acero. 110 x 230 x 110 cm. 50 x 70 cm. I AM WHAT I AM / MA I TAHW MA I, 2015. Action with oak trunk, typographic print, copy of The Coming of Insurrection by The Invisible Committee, steel bar. 110 x 230 x 110 cm. 50 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554552218-KAGT4MY6QF36XN8JS338/11.Vista-general-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507542330118-2MXQ8IRXZ13XNCVRPPOX/Javier-Arce_Micropolitica%231_Detail.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Micropolítica #1, 2016. Hoja de palmera, fotografía estenopeica sobre papel baritado de gelatina de plata vaso del Bar "El Chato Peces", ginebra con tónica y limón. 250 x 70 x 10 cm. Micropolítica #1, 2016. Palm leaf, pinhole photography on baryta silver gelatin paper glass of the Bar "El Chato Fish", gin tonic and lemon. 250 x 70 x 10 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554627866-ICAOS9492LT70D6KS527/16.Micropolitica%231-detalle-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554665756-VSDCHBER717H589QPTMP/15.Vista-general-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Vista de la exposición Orden natural. Centro de Arte Alcobendas, Madrid. Exhibition view Orden natural. Centro de Arte Alcobendas, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554711469-17DJYHGIK82OCFIQLBIM/6.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Walden Pond (Detalle), 2015. Grafito sobre papel prensa, 150 x 162 cm. Walden Pond (Detail), 2015. Graphite on newsprint paper, 150 x 162 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554737918-2IY30VPVOC2YI8TAN4AB/5.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Walden Pond, 2015. Grafito sobre papel prensa, 150 x 162 cm. Walden Pond, 2015. Graphite on newsprint paper, 150 x 162 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1507554796886-68VLDA5VQOOOMLQF6KMJ/19.vista-general-javier-arce.jpg Centro de Arte Alcobendas. Madrid. Orden natural. Doblar la tierra, 2014. Vídeo 7´ 10”. Doblar la tierra, 2014, Video 7´ 10” http://javierarce.net/mapa-del-moho daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538838441287-RUHGLO81C611B4JH1BV2/1.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538838441287-RUHGLO81C611B4JH1BV2/1.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538838665080-5FA5F3QSZTCA4LC9X2T6/2.+Vista+general+Mapa+del+moho_javier+arce_galeria+carles+Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576173877011-ODCDVXIJFKUX9HS2HNVM/3.1.-GRIS%2312.jpg Galería Carles Tache. Barcelona. Mapa del moho. Gris #12, 2018. Grafito y ceniza de madera sobre papel prensa. 46 x 32,5 cm. Gris #12, 2018. Graphite and wood ash on newsprint paper. 46 x 32,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576173991122-O237IT0AZ6JX1FGCTS4W/4.1.GRIS%2311.jpg Galería Carles Tache. Barcelona. Mapa del moho. Gris #11, 2018. Grafito y ceniza de madera sobre papel prensa. 46 x 32,5 cm. Gris #11, 2018. Graphite and wood ash on newsprint paper. 46 x 32,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538839145780-F4WK36YWZCK9CQ3Y1BVU/5.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538839249330-9OMQG5KWKSOSW0OXYX2Z/6.1.linde.jpg Galería Carles Tache. Barcelona. Mapa del moho. La linde, 2018. Palos de pastor y cuerda del campo, 260 x 260 cm. La linde, 2018. Sticks of border and field rope, 260 x 260 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538839358968-HOQXPK77CCN2KAJX6388/7.1.linde_detalle.jpg Galería Carles Tache. Barcelona. Mapa del moho. Detalle de La linde, 2018. Palos de pastor y cuerda del campo, 260 x 260 cm. Detail of La linde, 2018. Sticks of border and field rope, 260 x 260 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538839495257-1PHMN6EZ0ZNUS0G0EHN6/8.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538839598263-I9JMJPP7TEHZ01VMWUUW/9.Retry-the-life-in-the-communal_javier-arce_galeria-carles-tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Retry the Life Experiment in the Communal, 2014. Xilografía sobre papel, puerta de mi cabaña. 138,43 x 91,44 cm. Ed. de 5, 2 PA. Ed. 1/5 con puerta. Ed.2 – 5/5. Retry the Life Experiment in the Communal, 2014. Woodcut print on paper, my cabin´s wooden door. 138.43 x 91.44 cm. Ed. of 5, 2 AP. Ed. 1/5 with door. Ed.2 – 5/5 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576174276186-55A06YBYOZTDDV225U54/10.1.GRIS%2314_javier-arce_mapa-del-moho_galeria-carlos-tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Gris #14, 2018. Grafito y ceniza de madera sobre papel prensa. 46 x 32,5 cm. Gris #14, 2018. Graphite and wood ash on newsprint paper. 46 x 32,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538839815519-1GLMT6FDLCREG9FPR6PA/11.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538839905664-SXHY0V29QLOQZDF3MWST/12.Mapa-del-moho%231.javier-arce_galeria-carles-tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Mapa del moho #1, 2018. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de roble. 200 x 230 cm. Mapa del moho #1, 2018. Frottage on rice paper, wood ash, coal, oak frame. 200 x 230 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840023092-IG5B21P3U5CG4QS178AQ/13.0.Mapa-del-moho_detalle1.jpg Galería Carles Tache. Barcelona. Mapa del moho. Detalle de Mapa del moho #1, 2018. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de roble. 200 x 230 cm. Detail of Mapa del moho #1, 2018. Frottage on rice paper, wood ash, coal, oak frame. 200 x 230 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840157909-BGS7CQQ1ATZ1ZY34N0Z1/13.1.Contrato-Natural%231.jpg Galería Carles Tache. Barcelona. Mapa del moho. Contrato natural #1, 2017. Frottage sobre papel de arroz, plástico de ensilar. 320 x 200 x 20 cm. Contrato natural #1, 2017. Frottage on rice paper and stretch film wrapping paper to store in the silo. 320 x 200 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840278164-HVKHAF02TAAR53M1YD13/13.2.Contrato-natural%231--detalle-02.jpg Galería Carles Tache. Barcelona. Mapa del moho. Contrato natural #1 (Detalle), 2017. Frottage sobre papel de arroz, plástico de ensilar. 320 x 200 x 20 cm. Contrato natural #1 (Detail), 2017. Frottage on rice paper and stretch film wrapping paper to store in the silo. 320 x 200 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840368534-8DHCILZ0CZHT0OG7G3T8/14.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840492431-BTEQKPT0GXS0TGXUA9BE/15.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538903174707-D3NPSGSKJ0CPZDR6TQXC/image-asset.jpeg Galería Carles Tache. Barcelona. Mapa del moho. - Sobre el tercer paisaje. Javier Arce. Sobre el Tercer Paisaje, 2014-2017. Vídeo HD, 7’. Sobre el tercer paisaje, 2014- 2017. HD single channel video, 7’. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840677680-YH8A8MRLZ9XRXOOIM6ZM/16.1.1.Mapa-del-moho%232_javier-arce_galeria-carlos-tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Mapa del moho #2, 2018. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de roble, 137 x 200 x 5 cm. Mapa del moho #2, 2018. Frottage on rice paper, wood ash, coal, oak frame. 137 x 200 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840774541-QO5FINUBYSSZUB9FKSYQ/16.mapa-del-moho_detalle2.jpg Galería Carles Tache. Barcelona. Mapa del moho. Detalle de Mapa del moho #2, 2018. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de roble. 137 x 200 x 5 cm. Detail of Mapa del moho #2, 2018. Frottage on rice paper, wood ash, coal, oak frame. 137 x 200 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840889762-A2CPWUPDH69ZD461TEJI/17.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Vista de la exposición Mapa del moho. Galería Carles Taché, Barcelona. Exhibition view Mapa del moho. Carles Taché Gallery, Barcelona. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538840989604-ZFC78G4M8DZHJXCUR6LZ/18.-madera-y-herodoto-javier-arce.jpg Galería Carles Tache. Barcelona. Mapa del moho. Keep politics out of this picture #3, 2013. Material de derribo de mi cabaña (madera) y revista Hérodote. 10 x 150 x 30 cm. Keep politics out of this picture #3, 2013. Waste material of my cabin (wood) and Hérodote magazine. 10 x 150 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538841092748-KZZSUNFHDQRHSYZM7E15/19.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. La linde, el bosque y la mirada, 2018. Palos de pastor, cuerdas del campo, 4 Linderos y tronco de eucalipto. Medidas variables. La linde, el bosque y la mirada, 2018. Sticks of border and field rope, 4 Linderos and eucalyptus trunk. variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538841239014-FZP554KCRO7MUD9CD0F4/20.la-linde%2C-el-bosque-y-la-mirada.-lindero%234.jpg Galería Carles Tache. Barcelona. Mapa del moho. La linde, el bosque y la mirada, 2018. Palos de pastor, cuerdas del campo, 4 Linderos y tronco de eucalipto. Medidas variables. La linde, el bosque y la mirada, 2018. Sticks of border and field rope, 4 Linderos and eucalyptus trunk. variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538841367337-TWZPQ56A7A8JW2SFOLQ8/21.1.lindero%234.jpg Galería Carles Tache. Barcelona. Mapa del moho. Lindero #4, 2018. Fottage sobre papel de arroz, ceniza de madera, 60 x 40 cm. Lindero #4, 2018. Frottage on rice paper, wood ash. 60 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538841459960-X43CMGRDIIQNI9WBETVC/22.la-linde%2C-el-bosque-y-la-mirada.-lindero%231.jpg Galería Carles Tache. Barcelona. Mapa del moho. La linde, el bosque y la mirada, 2018. Palos de pastor, cuerdas del campo, 4 Linderos y tronco de eucalipto. Medidas variables. La linde, el bosque y la mirada, 2018. Sticks of border and field rope, 4 Linderos and eucalyptus trunk. variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538841603033-WWP6ZVN2T6DC9EVBVLO9/23.1.lindero%231.jpg Galería Carles Tache. Barcelona. Mapa del moho. Lindero #1, 2018. Fottage sobre papel de arroz, ceniza de madera, 60 x 40 cm. Lindero #1, 2018. Frottage on rice paper, wood ash. 60 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538841688377-YAZ5ZKUNOB9X7XD0HY1P/24.la-linde%2C-el-bosque-y-la-mirada.-lindero%233.jpg Galería Carles Tache. Barcelona. Mapa del moho. La linde, el bosque y la mirada, 2018. Palos de pastor, cuerdas del campo, 4 Linderos y tronco de eucalipto. Medidas variables. La linde, el bosque y la mirada, 2018. Sticks of border and field rope, 4 Linderos and eucalyptus trunk. variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538841799646-JG6K8I3D0ATUNK1XAK0W/25.1.lindero%233.jpg Galería Carles Tache. Barcelona. Mapa del moho. Lindero #3, 2018. Fottage sobre papel de arroz, ceniza de madera, 60 x 40 cm. Lindero #3, 2018. Frottage on rice paper, wood ash. 60 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538841932266-R2HEQFC81XMSQBTRY97G/26.-Vista-general-Mapa-del-moho_javier-arce_galeria-carles-Tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. La linde, el bosque y la mirada, 2018. Palos de pastor, cuerdas del campo, 4 Linderos y tronco de eucalipto. Medidas variables. La linde, el bosque y la mirada, 2018. Sticks of border and field rope, 4 Linderos and eucalyptus trunk. variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538842034828-Z55USZA4HAKVO923I4N4/27.la-linde%2C-el-bosque-y-la-mirada.-lindero%232.jpg Galería Carles Tache. Barcelona. Mapa del moho. La linde, el bosque y la mirada, 2018. Palos de pastor, cuerdas del campo, 4 Linderos y tronco de eucalipto. Medidas variables. La linde, el bosque y la mirada, 2018. Sticks of border and field rope, 4 Linderos and eucalyptus trunk. variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1538842114295-7FC10KQFSR6H3HZEFA86/28.lindero%232_javier-arce_mapa-del-moho_galeria-carles-tache.jpg Galería Carles Tache. Barcelona. Mapa del moho. Lindero #2, 2018. Fottage sobre papel de arroz, ceniza de madera, 60 x 40 cm. Lindero #2, 2018. Frottage on rice paper, wood ash. 60 x 40 cm. http://javierarce.net/centro-pepe-espaliu daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553539611685-MJ6NHNOG6QXBSM501QIS/1.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Vista de la exposición Sobre cómo puede flotar una uva en el océano, Centro de Arte Pepe Espaliú, Córdoba. Exhibition view Sobre cómo puede flotar una uva en el océano, Centro de Arte Pepe Espaliú, Córdoba. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553539611685-MJ6NHNOG6QXBSM501QIS/1.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Vista de la exposición Sobre cómo puede flotar una uva en el océano, Centro de Arte Pepe Espaliú, Córdoba. Exhibition view Sobre cómo puede flotar una uva en el océano, Centro de Arte Pepe Espaliú, Córdoba. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553540382345-NRI8IY3QQ90BIWIWKCLH/2.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #8, 2018. Alfombra nudo bucle Beni Ouraïn, fondo fotográfico, pita, nitrato de plata sobre papel y croma, 270 x 190 x 60 cm. Sobre cómo puede flotar una uva en el océano #8, 2018. Berber carpet, pita tree, silver nitrate on paper, chroma, photographic background support, 270 x 190 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553541334614-9PXK0HV6I4PG4C4O6R2M/3.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #8, 2018. Alfombra nudo bucle Beni Ouraïn, fondo fotográfico, pita, nitrato de plata sobre papel y croma, 270 x 190 x 60 cm. Sobre cómo puede flotar una uva en el océano #8, 2018. Berber carpet, pita tree, silver nitrate on paper, chroma, photographic background support, 270 x 190 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553541393661-C3ZBZBGRQMI4XD8OSCWD/4.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #8, 2018. Alfombra nudo bucle Beni Ouraïn, fondo fotográfico, pita, nitrato de plata sobre papel y croma, 270 x 190 x 60 cm. Sobre cómo puede flotar una uva en el océano #8, 2018. Berber carpet, pita tree, silver nitrate on paper, chroma, photographic background support, 270 x 190 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553541521341-ZSZ18AZQKJQR2TWXMGRO/5.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #8, 2018. Alfombra nudo bucle Beni Ouraïn, fondo fotográfico, pita, nitrato de plata sobre papel y croma, 270 x 190 x 60 cm. Sobre cómo puede flotar una uva en el océano #8, 2018. Berber carpet, pita tree, silver nitrate on paper, chroma, photographic background support, 270 x 190 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553541564393-IXJT1R2GY49WFBKLEFH1/6.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #8, 2018.Alfombra nudo bucle Beni Ouraïn, fondo fotográfico, pita, nitrato de plata sobre papel y croma, 270 x 190 x 60 cm. Sobre cómo puede flotar una uva en el océano #8, 2018. Berber carpet, pita tree, silver nitrate on paper, chroma, photographic background support, 270 x 190 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553541645882-WDBARP7P8H5N0JDJWK7Q/7.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #9, 2018. Alfombra Azilal, plantas de esparto, nitrato de plata sobre papel y croma, 200 x 250 x 60 cm. Sobre cómo puede flotar una uva en el océano #9, 2018. Azilal carpet, esparto plants, silver nitrate on paper, chroma, photographic background support, 200 x 250 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553541892609-FYKBT4S36SB9YMGQMSZC/8.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #9, 2018. Alfombra Azilal, plantas de esparto, nitrato de plata sobre papel y croma, 200 x 250 x 60 cm. Sobre cómo puede flotar una uva en el océano #9, 2018. Azilal carpet, esparto plants, silver nitrate on paper, chroma, photographic background support, 200 x 250 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553541978684-LA0C4Q88AKC78ZEMPWR6/9.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #9, 2018. Alfombra Azilal, plantas de esparto, nitrato de plata sobre papel y croma, 200 x 250 x 60 cm. Sobre cómo puede flotar una uva en el océano #9, 2018. Azilal carpet, esparto plants, silver nitrate on paper, chroma, photographic background support, 200 x 250 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553542090157-Y9Y2BT9P8U3IKTZHTJ8Y/10.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #9, 2018. Alfombra Azilal, plantas de esparto, nitrato de plata sobre papel y croma, 200 x 250 x 60 cm. Sobre cómo puede flotar una uva en el océano #9, 2018. Azilal carpet, esparto plants, silver nitrate on paper, chroma, photographic background support, 200 x 250 x 60 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553542127563-SFGYIAD8U88CI42AKTE0/11.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Encantador de serpientes, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Encantador de serpientes, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553542358782-NOXVJAZ6W2VFG1XN5SGB/12.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Vista de la instalación Centro de Arte Pepe Espaliú, Córdoba. Installation view Centro de Arte Pepe Espaliú, Córdoba. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553542500934-F524YRQAL3P0AK3VOQ5V/13.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Lo que no se puede mirar se convierte en imagen #12, 2018. Collage, impresión inyección de tinta sobre papel Hahnemühle, marco de madera, 31,7 x 24,6 x 3 cm. Lo que no se puede mirar se convierte en imagen #12, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame, 31,7 x 24, 5 x 3 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553542888131-0CCPMQXOSICH6S2TH10P/14.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano #7, 2018. Escayola, esparto y madera, 270 x 120 x 10 cm. Sobre cómo puede flotar una uva en el océano #7, 2018. Plaster, esparto and wood, 270 x 120 x 10 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553543207882-FAS7PM3J4ANHMZAMUIXK/15.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Molinera preparando la harina, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Molinera preparando la harina, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553543507638-CNOWDPFDSLR8P2TWTTM5/16.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Retrato de una mujer bereber con su hijo en brazos, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Retrato de una mujer bereber con su hijo en brazos, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553543674492-K58V00A2C3M599L4VC1U/17.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Afiladoras, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Afiladoras, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553595098831-8VBDLOFCH3RZ8FXCG3D0/18.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Lo que no se puede mirar se convierte en imagen #7, 2018. Collage, impresión con inyección de tinta sobre papel Hahnemühle, marco de madera, 38 x 45 x 3 cm. Lo que no se puede mirar se convierte en imagen #7, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame, 38 x 45 x 3 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553595313360-0M9LNJ6MS4S6UII6BYRK/19.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano# 5, 2018. Handira roja, nitrato de plata sobre papel, caña, 160 x 220 cm. Sobre cómo puede flotar una uva en el océano# 5, 2018. red handira, silver nitrate on paper, bambu, 160 x 220 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553595957525-CFNJXKE9ME9NC32ICTWW/Sin-ti%CC%81tulo-1.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano# 5, 2018. Handira roja, nitrato de plata sobre papel, caña, 160 x 220 cm. Sobre cómo puede flotar una uva en el océano# 5, 2018. red handira, silver nitrate on paper, bambu, 160 x 220 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553595971397-2FIK66RZACHFT4STJGB5/21.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano# 5, 2018. Handira roja, nitrato de plata sobre papel, caña, 160 x 220 cm. Sobre cómo puede flotar una uva en el océano# 5, 2018. red handira, silver nitrate on paper, bambu, 160 x 220 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553596049883-0MM10WRLCBU160ZTQXQP/22.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Vista de la instalación Centro de Arte Pepe Espaliú, Córdoba. Installation view Centro de Arte Pepe Espaliú, Córdoba. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553596224133-I2WUQFAHGH8B8FX1WC8U/23.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Lo que no se puede mirar se convierte en imagen #9, 2018. Collage, impresión con inyección de tinta sobre papel Hahnemühle, marco de madera, 44 x 44 x 3 cm. Lo que no se puede mirar se convierte en imagen #9, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame, 44 x 44 x 3 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553596367987-4XXQMI2371YWJ8GRQ3ZW/24.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Lo que no se puede mirar se convierte en imagen #9, 2018. Collage, impresión con inyección de tinta sobre papel Hahnemühle, marco de madera, 44 x 44 x 3 cm. Lo que no se puede mirar se convierte en imagen #9, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame, 44 x 44 x 3 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553596405960-3OG6MCDCS2XVGD61IIWH/25.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Vista de la instalación Centro de Arte Pepe Espaliú, Córdoba. Installation view Centro de Arte Pepe Espaliú, Córdoba. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553596439710-2LPB3PZZ1NYY1JWG2ENE/26.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Retrato de una chica mora de Fez, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Retrato de una chica mora de Fez, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553596667262-98K7OD74RZOZA6LOQHFK/27.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Lo que no se puede mirar se convierte en imagen #13, 2018. Frottage sobre papel de arroz, rienda camellera de cuero, bolsa de plástico y objeto, nitrato de plata sobre papel Hahnemühle, barra fotográfica monopole, collage, impresión con inyección de tinta sobre papel Hahnemühle, marco de madera, medidas variables. Lo que no se puede mirar se convierte en imagen #13, 2018. frottage on rice paper, leather camellera rein, plastic bag and object, silver nitrate on Hannehemühle paper, monopole photo bar, collage, inkjet print on Hahnemühle paper, wooden frame with Kraft paper, variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553596878367-1I64PRZQPJUU5NFF7QK5/28.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Lo que no se puede mirar se convierte en imagen #13, 2018. Frottage sobre papel de arroz, rienda camellera de cuero, bolsa de plástico y objeto, nitrato de plata sobre papel Hahnemühle, barra fotográfica monopole, collage, impresión con inyección de tinta sobre papel Hahnemühle, marco de madera, medidas variables. Lo que no se puede mirar se convierte en imagen #13, 2018. frottage on rice paper, leather camellera rein, plastic bag and object, silver nitrate on Hannehemühle paper, monopole photo bar, collage, inkjet print on Hahnemühle paper, wooden frame with Kraft paper, variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553596938319-SMN2P24OD6JUD64OGO77/36.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Mujer mora de Tetuán con su hijo, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Mujer mora de Tetuán con su hijo, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553597272540-GCB6J6P67FOP44AMEVO8/35.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Retrato de uno de los hombres del sheriff, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Retrato de uno de los hombres del sheriff, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553597394454-YZ12R2RVF8OFYMRPBC8R/34.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Retrato de una chica con vestido tradicional, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Retrato de una chica con vestido tradicional, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553597602861-XQ1I1CCAUTQFR15N2DBN/33.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. El trovador, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. El trovador, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553597680253-F8P8TTD1FGI69N0QMEMQ/32.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Antonio Cavilla. Ahmed al–Raisuli, conocido como a El Raisuli, circa 1890. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Antonio Cavilla. Ahmed al–Raisuli, conocido como a El Raisuli, circa 1890. Silver gelatin on barium paper, current copy, 26.5 x 21.5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553597841968-4FQPBU6J9WHT1KV9M6FT/29.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Vista de la instalación Centro de Arte Pepe Espaliú, Córdoba. Installation view Centro de Arte Pepe Espaliú, Córdoba. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553597890484-HCNBOQRIFPGH598FL1WH/30.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano# 6, 2019. Jaike, caña, Frottage sobre papel de arroz, carbón, croma 120 x 100 x 5 cm. Sobre cómo puede flotar una uva en el océano# 6, 2019. Jaike, bambu, frottage on rice paper, charcoal, chroma. 120 x 100 x 5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1553598537870-MO45YKCGYW6B0UQ5LG5N/31.Javier-arce.-Espaliu.jpg Centro de Arte Pepe Espaliu. Cordoba. Sobre cómo puede flotar una uva en el océano# 6, 2019. Jaike, caña, Frottage sobre papel de arroz, carbón, croma 120 x 100 x 5 cm. Sobre cómo puede flotar una uva en el océano# 6, 2019. Jaike, bambu, frottage on rice paper, charcoal, chroma. 120 x 100 x 5 cm. http://javierarce.net/cindy-rucker-gallery daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541762892916-FG1YX7M5RQ3I8R6WF7Q1/1.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Sobre cómo puede flotar una uva en el océano #1, 2018. Alfombra Bereber Azilal, nitrato de plata sobre papel, croma, soporte fondo fotográfico, 200 x 267 x 40 cm. Sobre cómo puede flotar una uva en el océano #1, 2018. Berber carpet Azilal, silver nitrate on paper, chroma, photographic background support, 200 x 267 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541762892916-FG1YX7M5RQ3I8R6WF7Q1/1.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Sobre cómo puede flotar una uva en el océano #1, 2018. Alfombra Bereber Azilal, nitrato de plata sobre papel, croma, soporte fondo fotográfico, 200 x 267 x 40 cm. Sobre cómo puede flotar una uva en el océano #1, 2018. Berber carpet Azilal, silver nitrate on paper, chroma, photographic background support, 200 x 267 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541764129814-HHB7B0IVYZYD0Q8E3HDC/2.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Sobre cómo puede flotar una uva en el océano #1, 2018. Alfombra Bereber Azilal, nitrato de plata sobre papel, croma, soporte fondo fotográfico, 200 x 267 x 40 cm. Sobre cómo puede flotar una uva en el océano #1, 2018. Berber carpet Azilal, silver nitrate on paper, chroma, photographic background support, 200 x 267 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541764448411-BS6HDYR4QNI2DKXFL8IQ/3.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Lo que no se puede mirar se convierte en imagen #1, 2018. Collage, impresión inyección de tinta sobre papel Hahnemühle, marco de madera con papel Kraft, 44 x 33 cm. Lo que no se puede mirar se convierte en imagen #1, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame with Kraft paper, 44 x 33 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541765082386-IEGZGOKXAV0KDKVVRHP9/4.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Detalle de Sobre cómo puede flotar una uva en el océano#1, 2018. Alfombra Bereber Azilal, nitrato de plata sobre papel, croma, soporte fondo fotográfico, 200 x 267 x 40 cm. Detail of Sobre cómo puede flotar una uva en el océano #1, 2018. Berber carpet Azilal, silver nitrate on paper, chroma, photographic background support, 200 x 267 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541765276187-YVQPIFHIEENKX9PH9F3G/5.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Vista de la instalación Galería Cindy Rucker, Nueva York. Installation view Cindy Rucker Gallery, New York. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541765515488-ABN04YI4W2IZMZOSM5L5/6.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Detalle de Sobre cómo puede flotar una uva en el océano#1, 2018. Alfombra Bereber Azilal, nitrato de plata sobre papel, croma, soporte fondo fotográfico, 200 x 267 x 40 cm. Detail of Sobre cómo puede flotar una uva en el océano#1, 2018. Berber carpet Azilal, silver nitrate on paper, chroma, photographic background support, 200 x 267 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541765616959-181O58TJD3UCKAOL41EZ/7.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Sobre cómo puede flotar una uva en el océano #2, 2018. Busharquit mika, impresión fotográfica sobre papel Hahnemühle bañadas en nitrato de plata, 50 x 67 x 4 cm. Sobre cómo puede flotar una uva en el océano #2, 2018. Busharquit mika, photographic print on Hahnemühle paper dipped in silver nitrate, 50 x 67 x 4 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541766146309-F8BSXYR8FCFEBJPVLUP0/8.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Detalle de Sobre cómo puede flotar una uva en el océano #2, 2018. Busharquit mika, impresión fotográfica sobre papel Hahnemühle bañadas en nitrato de plata, 50 x 67 x 4 cm. Detail of Sobre cómo puede flotar una uva en el océano #2, 2018. Busharquit mika, photographic print on Hahnemühle paper dipped in silver nitrate, 50 x 67 x 4 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541766630285-90CB3TDNR4DYOEB84SDM/9.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Sobre cómo puede flotar una uva en el océano #3, 2018. Saco Aït Ouaoazguote, 5 pulseras de plata Bereber, nitrato de plata sobre papel, planta de esparto, medidas variables. Sobre cómo puede flotar una uva en el océano#3, 2018. Saco Aït Ouaoazguote, 5 Berber silver bracelets, silver nitrate on paper, esparto plant, variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541767002240-WQ1XWIGY8O8NDT34BYR2/10.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Vista de la instalación Galería Cindy Rucker, Nueva York. Installation view Cindy Rucker Gallery, New York. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541767130666-A4ZT233QGJF53FRQNDN0/11.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage sobre papel de arroz, rienda camellera de cuero, bolsa de plástico y objeto, nitrato de plata sobre papel Hahnemühle, barra fotográfica monopole, collage, impresión inyección de tinta sobre papel Hannehemühle, marco de madera con papel Kraft, medidas variables. Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage on rice paper, leather camellera rein, plastic bag and object, silver nitrate on Hahnemühle paper, monopole photo bar, collage, inkjet print on Hannehemühle paper, wooden frame with Kraft paper, variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541767873790-O10XHO5P6N5T5TLX35XU/12.About+how+a+grape+can+float+on+the+ocean_javier+arce.jpg Cindy Rucker Gallery. New York. Detalle de Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage sobre papel de arroz, rienda camellera de cuero, bolsa de plástico y objeto, nitrato de plata sobre papel Hahnemühle, barra fotográfica monopole, collage, impresión inyección de tinta sobre papel Hannehemühle, marco de madera con papel Kraft, medidas variables. Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage on rice paper, leather camellera rein, plastic bag and object, silver nitrate on Hahnemühle paper, monopole photo bar, collage, inkjet print on Hannehemühle paper, wooden frame with Kraft paper, variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541768017610-2M10S9FF7710DZTASX4M/13.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Detalle de Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage sobre papel de arroz, rienda camellera de cuero, bolsa de plástico y objeto, nitrato de plata sobre papel Hahnemühle, barra fotográfica monopole, collage, impresión inyección de tinta sobre papel Hannehemühle, marco de madera con papel Kraft, medidas variables. Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage on rice paper, leather camellera rein, plastic bag and object, silver nitrate on Hahnemühle paper, monopole photo bar, collage, inkjet print on Hannehemühle paper, wooden frame with Kraft paper, variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541768165293-UFW3YA3FEKPLGPV5M2EW/14.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Detalle de Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage sobre papel de arroz, rienda camellera de cuero, bolsa de plástico y objeto, nitrato de plata sobre papel Hahnemühle, barra fotográfica monopole, collage, impresión inyección de tinta sobre papel Hannehemühle, marco de madera con papel Kraft, medidas variables. Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage on rice paper, leather camellera rein, plastic bag and object, silver nitrate on Hahnemühle paper, monopole photo bar, collage, inkjet print on Hannehemühle paper, wooden frame with Kraft paper, variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541768263278-57W0MV0KIBN5SR7QMXGW/15.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Detalle de Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage sobre papel de arroz, rienda camellera de cuero, bolsa de plástico y objeto, nitrato de plata sobre papel Hahnemühle, barra fotográfica monopole, collage, impresión inyección de tinta sobre papel Hannehemühle, marco de madera con papel Kraft, medidas variables. Lo que no se puede mirar se convierte en imagen #2, 2018. Frottage on rice paper, leather camellera rein, plastic bag and object, silver nitrate on Hahnemühle paper, monopole photo bar, collage, inkjet print on Hannehemühle paper, wooden frame with Kraft paper, variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541773925677-6UAG0CWM8JONTC0EVZJX/16.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Vista de la instalación Galería Cindy Rucker, Nueva York. Installation view Cindy Rucker Gallery, New York. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541774032593-Y5E4RXND4LEQZEP840G4/17.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Lo que no se puede mirar se convierte en imagen #3, 2018. Collage, impresión inyección de tinta sobre papel Hahnemühle, marco de madera con papel Kraft, 33 x 22 x 4 cm. celosia de escayola y esparto, 200 x 260 x 6 cm. Lo que no se puede mirar se convierte en imagen #3, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame with Kraft paper, 33 x 22 x 4 cm, plaster and esparto celosia, 200 x 260 x 6 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541774116111-10T85MFP2BLKAM3UJ1W6/18.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Lo que no se puede mirar se convierte en imagen #3, 2018. Collage, impresión inyección de tinta sobre papel Hahnemühle, marco de madera con papel Kraft, 33 x 22 x 4 cm. celosia de escayola y esparto, 200 x 260 x 6 cm. Lo que no se puede mirar se convierte en imagen #3, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame with Kraft paper, 33 x 22 x 4 cm, plaster and esparto celosia, 200 x 260 x 6 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541774403265-062XQT46R35Q5YTN91VX/19.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Vista trasera Lo que no se puede mirar se convierte en imagen #4, 2018. Collage, impresión inyección de tinta sobre papel Hahnemühle, marco de madera con papel Kraft, 33 x 22 x 4 cm. celosia de escayola y esparto, 200 x 260 x 6 cm. Back view Lo que no se puede mirar se convierte en imagen #4, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame with Kraft paper, 33 x 22 x 4 cm, plaster and esparto celosia, 200 x 260 x 6 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541774773425-4OR525YXS5NDRECCQ07P/20.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Sobre cómo puede flotar una uva en el océano#4, 2018. Cinturón antiguo Aït Ouaoazguote, nitrato de plata sobre papel, 70 x 55 cm. Celosia de escayola y esparto, 200 x 260 x 6 cm. Sobre cómo puede flotar una uva en el océano #4, 2018. Aït Ouaoazguote old belt, silver nitrate on paper, 70 x 55 cm. Plaster and esparto celosia, 200 x 260 x 6 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541775119797-UJHHPWEGY5OW54DUR9QA/21.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Sobre cómo puede flotar una uva en el océano#4, 2018. Cinturón antiguo Aït Ouaoazguote, nitrato de plata sobre papel, 70 x 55 cm. Sobre cómo puede flotar una uva en el océano#4, 2018. Aït Ouaoazguote old belt, silver nitrate on paper, 70 x 55 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541775308577-07ZHHKEWXP4WILQMT8SB/22.-Detalle_lo-que-no-se-puede-mirar-se-convierte-en-imagen-%28CIntur%C3%B3n-A%C3%AFt-Ouaouazguite%29.jpg Cindy Rucker Gallery. New York. Detalle de Sobre cómo puede flotar una uva en el océano#4, 2018. Cinturón antiguo Aït Ouaoazguote, nitrato de plata sobre papel, 70 x 55 cm. Detail of Sobre cómo puede flotar una uva en el océano #4, 2018. Aït Ouaoazguote old belt, silver nitrate on paper, 70 x 55 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541775525992-4A1S93QRAM2QC87K0BM1/23.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Lo que no se puede mirar se convierte en imagen #5, 2018. Collage, impresión inyección de tinta sobre papel Hahnemühle, marco de madera con papel Kraft, 25 x 24 cm. Lo que no se puede mirar se convierte en imagen #5, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame with Kraft paper, 25 x 24 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541775644263-WK6TQHHZ5TJRNYPLZI72/24.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Lo que no se puede mirar se convierte en imagen #6, 2018. Collage, impresión inyección de tinta sobre papel Hahnemühle, marco de madera con papel Kraft, 55 x 52cm. Lo que no se puede mirar se convierte en imagen #6, 2018. Collage, inkjet printing on Hahnemühle paper, wooden frame with Kraft paper, 55 x 52 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1541775757282-UESRU4DKIR6U9LE6POMC/25.About-how-a-grape-can-float-on-the-ocean_javier-arce.jpg Cindy Rucker Gallery. New York. Vista de la instalación Galería Cindy Rucker, Nueva York. Installation view Cindy Rucker Gallery, New York. http://javierarce.net/resilente daily 0.75 2019-07-26 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1564160158740-CGSK3RVST6TF3PDRFP7T/1.Resiliente%231.jpg Resilente Resilente #1, 2019. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de madera de roble natural ,olmo natural y fresno natural. 35 x 28 x 3 cm. Resilente #1, 2019. Frottage on rice paper, wood ash, charcoal, natural oak, elm and ash tree wood frame. 35 x 28 x 3 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1564160158740-CGSK3RVST6TF3PDRFP7T/1.Resiliente%231.jpg Resilente Resilente #1, 2019. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de madera de roble natural ,olmo natural y fresno natural. 35 x 28 x 3 cm. Resilente #1, 2019. Frottage on rice paper, wood ash, charcoal, natural oak, elm and ash tree wood frame. 35 x 28 x 3 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1564160430017-A9LC5R4V2HEDA7YR1ONG/4.Resiliente%232.jpg Resilente Resilente#2, 2019. Frottage sobre papel de arroz, ceniza de madera, carboncillo, marco de madera de roble, olmo y fresno. 41 x 41 x 3 cm. Resilente #2, 2019. Frottage on rice paper, wood ash, charcoal, natural oak, elm and ash tree wood frame. 41 x 41 x 3 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1564161342493-HS86M8PGFXWH2B6KOW8F/6.Resiliente%233.jpg Resilente Resilente #3, 2019. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de madera de roble natural ,olmo natural, fresno natural y abedul natural. 28 x 35 x 3 cm. Resilente #3, 2019. Frottage on rice paper, wood ash, charcoal, natural oak, elm, ash tree and birch wood frame. 28 x 35x 3 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1564161659950-RG47TTCJO3IOGFOCZOL8/7.Resiliente%234.jpg Resilente Resiliente#4, 2019. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de madera de roble natural , abedul natural, nogal natural y fresno natural. 41 x 41 x 3 cm. Resilente #4, 2019. Frottage on rice paper, wood ash, charcoal, natural oak, elm, ash tree and birch wood frame. 41 x 41 x 3 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1564161817042-2FNYJX7ARZVLOP5F1P3E/8.Resiliente%235.jpg Resilente Resilente #5, 2019. Frottage sobre papel de arroz, ceniza de madera, carbón, marco de madera de roble natural ,olmo natural y fresno natural. 39,5 x 47,5 x 3 cm. Resilente #5, 2019. Frottage on rice paper, wood ash, charcoal, natural oak, elm and ash tree wood frame. 39,5 x 47,5 x 3 cm http://javierarce.net/montaa-trigo-tigre daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575970599693-WXQO5RXCZ3WKG3MQEX8Y/javier-arce.eja019.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575970599693-WXQO5RXCZ3WKG3MQEX8Y/javier-arce.eja019.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575973746625-PW99F9S8T6PDXEI7YELB/javier-arce-the-goma-2.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575975050522-8QHPFNRL5JL2TAPXSXZV/javier-arce-the-goma-3.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Celosía, 2018. Escayola, esparto y madera. Medidas variables. Celosía, 2018. Plaster, esparto and wood. Variable dimensions https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575975418425-A2GSXUS1R4R2R1IWJQ4D/javier-arce-the-goma-4.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575975552130-2UMG62KHTL3E3WKD6EKJ/javier-arce-the-goma-5.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Antonio Cavilla. Portador de agua y su ‘gerba’, 2018. Gelatina de plata sobre papel baritado, copia actual. 26,5 x 21,5 cm. Circa 1890. Antonio Cavilla. Portador de agua y su ‘gerba’, 2018. Gelatin silver print on baritate paper, printed later. 26,5 x 21,5 cm. Circa 1890 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575975810299-989NHNMQVC5U50E3OU44/javier-arce-the-goma-6.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Lo que no se puede mirar se convierte en imagen #15, 2019. Estera, carbón transportado, papel fotográfico RC bañado en nitrato de plata. 60,3 x 53,5 cm. Lo que no se puede mirar se convierte en imagen #15, 2019. Mat, carbon transfer, silver nitrate on RC photo paper. 60,3 x 53,5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575976007915-F67QGE8WGLQIW6XQPMPG/javier-arce-the-goma-7.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Lo que no se puede mirar se convierte en imagen #15, 2019. Estera, carbón transportado, papel fotográfico RC bañado en nitrato de plata. 60,3 x 53,5 cm, (Detalle). Lo que no se puede mirar se convierte en imagen #15, 2019. Mat, carbon transfer, silver nitrate on RC photo paper. 60,3 x 53,5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575976261385-8J3HCZGW5A24891O1NLE/javier-arce-the-goma-8.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575977453342-27GL502BE3PMNRWGHOF7/javier-arce-9.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Antonio Cavilla. Hilanderas, 2018. Gelatina de plata sobre papel baritado, copia actual. 26,5 x 21,5 cm. Circa 1890. Antonio Cavilla. Hilanderas, 2018. Gelatin silver print on baritate paper, printed later. 26,5 x 21,5 cm. Circa 1890 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575979543241-3UTNK6FL3W93DQS2IV89/javier-arce-the-goma-11.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Sobre cómo puede flotar una uva en el océano #5, 2018. Handira, nitrato de plata sobre papel, caña. 160 x 220 cm. Sobre cómo puede flotar una uva en el océano #5, 2018. Red Handira, silver nitrate on paper, cane. 160 x 220 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575979985525-8E1QL2RF1QN9R92FRTXM/javier-arce-the-goma-12.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Sobre cómo puede flotar una uva en el océano #5, 2018. Handira, nitrato de plata sobre papel, caña. 160 x 220 cm.(Detalle). Sobre cómo puede flotar una uva en el océano #5, 2018. Red Handira, silver nitrate on paper, cane. 160 x 220 cm. (Detail) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575993531620-2URKRCMAU8IMK065LO96/javier-arce-the-goma-13.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575993668039-8WLK7ZHLAEQR3E5RAZBO/javier-arce-the-goma-14.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Antonio Cavilla. Encantador de serpientes, 2018. Gelatina de plata sobre papel baritado, copia actual. 26,5 x 21,5 cm. Circa 1890. Antonio Cavilla. Encantador de serpientes, 2018. Gelatin silver print on baritate paper, printed later. 26,5 x 21,5 cm. Circa 1890 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575994101369-DB0WUQSQYWY5E5RKFMZV/javier-arce-the-goma-15.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. La resistencia y la potencia, 2019. Cuerda, bolas de posidonia, fotografía sobre papel baritado, polea, flor de anís, añil, lacre, incienso, fruto de roble, semilla flor del desierto. Medidas variables. La resistencia y la potencia, 2019. Rope, Posidonia balls, photograph on barite paper, pulley, anise flower, indigo, sealing, incense, oak fruit, desert flower seed. Variable dimensions https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575994412633-MLYEFZYT5J9QRFCLH8BT/javier-arce-the-goma-16.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. La resistencia y la potencia, 2019. Cuerda, bolas de posidonia, fotografía sobre papel baritado, polea, flor de anís, añil, lacre, incienso, fruto de roble, semilla flor del desierto. Medidas variables (Detalle I). La resistencia y la potencia, 2019. Rope, Posidonia balls, photograph on barite paper, pulley, anise flower, indigo, sealing, incense, oak fruit, desert flower seed. Variable dimensions. (Detail I) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575995171401-29P2DWW33FK8W12GF3WJ/javier-arce-the-goma-17.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. La resistencia y la potencia, 2019. Cuerda, bolas de posidonia, fotografía sobre papel baritado, polea, flor de anís, añil, lacre, incienso, fruto de roble, semilla flor del desierto. Medidas variables (Detalle II). La resistencia y la potencia, 2019. Rope, Posidonia balls, photograph on barite paper, pulley, anise flower, indigo, sealing, incense, oak fruit, desert flower seed. Variable dimensions. (Detail II) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575995728165-JDLTA2MJH0I4RA1EV177/javier-arce-the-goma-18.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575995898438-JL75XQ7JB919ENBF6L0F/javier-arce-the-goma-19.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Antonio Cavilla. Ahmed al-Raisuli, conocido como a El Raisuli, 2018. Gelatina de plata sobre papel baritado, copia actual, 26,5 x 21,5 cm. Circa 1890. Antonio Cavilla. Ahmed al-Raisuli, conocido como a El Raisuli, 2018. Gelatin silver print on baritate paper, printed later, 26,5 x 21,5 cm. Circa 1890. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1575996165862-RF47GBO2A5LEEASE85MW/javier-arce-the-goma-20.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Lo que no se puede mirar se convierte en imagen #13, 2018. Collage, Impresión con inyección de tinta sobre papel Hannehemühle. 41,8 x 30,5 x 3 cm. Lo que no se puede mirar se convierte en imagen #13, 2018. Collage. Inkjet print on Hannehemühle paper. 41,8 x 30,5 x 3 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576063083073-GWH03RN6YNSOHZ403YBH/javier-arce-the-goma-21.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576063226720-VL639KU700ERVT8HXDCS/javier-arce-the-goma-22.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576063474178-5V63386FVKVKC9BBBMGS/javier-arce-the-goma-23.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Antonio Cavilla. Retrato de mujer bereber con su hijo en brazos, 2018. Gelatina de plata sobre papel baritado, copia actual. 26,5 x 21,5 cm. Circa 1890. Antonio Cavilla. Retrato de mujer bereber con su hijo en brazos, 2018. Gelatin silver print on baritate paper, printed later. 26,5 x 21,5 cm. Circa 1890 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576063698944-A1J2A9F4WL7Y3UKRAQKU/javier-arce-the-goma-24.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Sobre cómo puede flotar una uva en el océano #6, 2019. Jaike, caña, frottage sobre papel de arroz, croma. 120 x 100 x 5 cm. Sobre cómo puede flotar una uva en el océano #6, 2019. Jaike, cane, frottage on rice paper, chroma. 120 x 100 x 5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576064182945-I4JFT4CL5ND3CIRUXNRP/javierarce-the-goma-25.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Sobre cómo puede flotar una uva en el océano #6, 2019. Jaike, caña, frottage sobre papel de arroz, croma. 120 x 100 x 5 cm. (Detalle). Sobre cómo puede flotar una uva en el océano #6, 2019. Jaike, cane, frottage on rice paper, chroma. 120 x 100 x 5 cm. (Detail) https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576064621218-ROD0YL3V0B6VU0SGPVS5/javier-arce-the-goma-26.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576064824061-G6FYVPPGMKXBQIK05UKB/javier-arce-the-goma-27.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Lo que no se puede mirar se convierte en imagen #3, 2018. Collage, Impresión con inyección de tinta sobre papel Hannehemühle. 31,7 x 24,6 x 3 cm. Lo que no se puede mirar se convierte en imagen #3, 2018. Collage. Inkjet print on Hannehemühle paper. 31,7 x 24,6 x 3 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576067747342-G89HHCL3X9FEVSOYYB1J/javier-arce-the-goma-28.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Siroua#2, 2019. Nitrato de plata sobre papel. 152 x 112 cm. Siroua#2, 2019. Silver nitrate on paper. 152 x 112 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576068299452-DXH9XN67HDDNF1HR7RCB/javier-arce-the-goma-29.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576068541033-M896MI4KOCJY10IJLFRH/javier-arce-the-goma-30.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Lo que no se puede mirar se convierte en imagen #12, 2018. Collage, Impresión con inyección de tinta sobre papel Hannehemühle. 31,7 x 24,6 x 3 cm. Lo que no se puede mirar se convierte en imagen #12, 2018. Collage. Inkjet print on Hannehemühle paper. 31,7 x 24,6 x 3 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576068759248-RNOGGFTS302Q42JJ4AUG/javier-arce-the-gomo-31.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576069411868-282G4X28V468OC3QH0O6/javier-arce-the-goma-32.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Sin título, 2019. Cerámica, jarrón bereber y croma. 60,3 x 53,5 cm. Sin título, 2019. Ceramic, Berber vase and chroma. 60,3 x 53,5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576149351881-82EL2EEQY6E4MIUMXMZZ/javier-arce-the-goma-33.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Vista de la exposición Montaña, trigo, tigre. Galería The Goma, Madrid. Exhibition view Montaña, trigo, tigre. The Goma Gallery, Madrid https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576149460745-1IAVP8D1IY6BFO4OWV7G/javier-arce-the-goma-34.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Siroua#1, 2019. Nitrato de plata sobre papel. 152 x 112 cm. Siroua#1, 2019. Silver nitrate on paper. 152 x 112 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576150302102-0MMB0ZJBFNM1BH8KEJ44/javier-arce-the-goma-35.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Antonio Cavilla. Mujer mora de Tetuán con su hijo, 2018. Gelatina de plata sobre papel baritado, copia actual. 25,5 x 21,5 cm. Circa 1890. Antonio Cavilla. Mujer mora de Tetuán con su hijo, 2018. Gelatin silver print on baritate paper, printed later. 25,5 x 21,5 cm. Circa 1890 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576150580740-54RN7M2DMZGXBID8BBJX/javier-arce-the-goma-36.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Lo que no se puede mirar se convierte en imagen #4, 2018. Collage, Impresión con inyección de tinta sobre papel Hannehemühle 31,7 x 24,6 x 3 cm. Lo que no se puede mirar se convierte en imagen #4, 2018. Collage. Inkjet print on Hannehemühle paper. 31,7 x 24,6 x 3 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1576150793788-5QD907LWH4XFVSC21985/javier-arce-the-goma-37.jpg Galería The Goma. Madrid. Montaña, trigo, tigre. Antonio Cavilla. Retrato de uno de los hombres del Sheriff, 2018. Gelatina de plata sobre papel baritado, copia actual. 26,5 x 21,5 cm. Circa 1890. Antonio Cavilla. Retrato de uno de los hombres del Sheriff, 2018. Gelatin silver print on baritate paper, printed later. 26,5 x 21,5 cm. Circa 1890 http://javierarce.net/doblar-la-tierra-palacete-del-embarcadero daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617032423199-KMQWH1ZRZW94QS8SIBZD/0.Javier-Arce_Doblar-la-tierra_Palacete-del-Embarcadero.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Vista de la exposición Doblar la tierra. Palacete del Embarcadero, Santander. Exhibition view Doblar la tierra. Palacete del Embarcadero, Santander. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617032423199-KMQWH1ZRZW94QS8SIBZD/0.Javier-Arce_Doblar-la-tierra_Palacete-del-Embarcadero.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Vista de la exposición Doblar la tierra. Palacete del Embarcadero, Santander. Exhibition view Doblar la tierra. Palacete del Embarcadero, Santander. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1616754073831-KKUTBYEIA63JTBAF9F6U/7.Gorka%2CGrace%2CLara%2CMarino-y-Octavia.jpg Palacete del Embarcadero. Santander. Doblar la tierra. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1616759433741-XXCCBTXRGKBTZRZ2KZ6F/Sin-ti%CC%81tulo-1.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sin título, 2020. Eucalipto quemado, hierro forjado. 350 × 120 × 70 cm. Sin título, 2020. Burned eucalyptus, wrought iron. 350 x 120 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1616759699727-1H5WADDGV52UV923U91R/2.Sin-titulo_Javier-Arce_detalle.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Detalle de Sin título, 2020. Eucalipto quemado, hierro forjado. 350 × 120 × 70 cm. Detail of Sin título, 2020. Burned eucalyptus, wrought iron. 350 x 120 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1616760039603-PJU0SO4L7BUFFJ44UMHE/0.Javier-Arce_Doblar-la-tierra_Palacete-del-Embarcadero.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Vista de la exposición Doblar la tierra. Palacete del Embarcadero, Santander. Exhibition view Doblar la tierra. Palacete del Embarcadero, Santander. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617029096429-7LTL00VQPECWNTVWKL7O/6.Gorka%2C-Grace%2C-Lara%2C-Marino-y-Octavia.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Gorka, Grace, Lara, Marino y Octavia, 2021. Fibra de alpaca, varas de avellano trenzadas. 205 × 137 × 137 cm. Gorka, Grace, Lara, Marino y Octavia, 2021. Alpaca fiber, braided hazel rods. 205 x 137 x 137 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1616754342009-2UEYWWYB8NSSPBWB6KCA/7.javier-Arce.-Gorka%2CGrace%2CLara%2CMarino-y-Octavia.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Detalle de Gorka, Grace, Lara, Marino y Octavia, 2021. Fibra de alpaca, varas de avellano trenzadas. 205 × 137 × 137 cm. Detail of Gorka, Grace, Lara, Marino y Octavia, 2021. Alpaca fiber, braided hazel rods. 205 x 137 x 137 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617029332856-1OOGHT3FMC0U965XJQTC/Sin-ti%CC%81tulo-2.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Detalle de Gorka, Grace, Lara, Marino y Octavia, 2021. Fibra de alpaca, varas de avellano trenzadas. 205 × 137 × 137 cm. Detail of Gorka, Grace, Lara, Marino y Octavia, 2021. Alpaca fiber, braided hazel rods. 205 x 137 x 137 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617094631921-LKESE4EZHLN294CGR1EI/9.Javier-Arce_Doblar-la-tierra_Palacete-del-Embarcadero.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Vista de la exposición Doblar la tierra. Palacete del Embarcadero, Santander. Exhibition view Doblar la tierra. Palacete del Embarcadero, Santander. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617029467435-Y88WIZ7KTQ56HB4WMS9H/10.Fei%CC%81smo-%28Uco-y-Uca%29%2C.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Feísmo (Uco y Uca), 2020. Bidones de herbicida, dos geranios. 70 × 60 × 40 cm. Feísmo (Uco y Uca), 2020. Herbicide drums, two geraniums. 70 x 60 x 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617029973550-E7M70Y865ELBYARF7A44/11.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. Sobre los huesos de los muertos, 2020. 4 double drawings, ink on paper, texts of Sobre los huesos de los muertos by Olga Tokarczuk. 35 x 47 cm each drawing. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617030105968-5KODMB51MT58AMEE78YQ/12.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. Sobre los huesos de los muertos, 2020. 4 double drawings, ink on paper, texts of Sobre los huesos de los muertos by Olga Tokarczuk. 35 x 47 cm each drawing. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617030206655-F1WC6YCXWRH9VPHFND29/13.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. -  Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. Sobre los huesos de los muertos, 2020. 4 double drawings, ink on paper, texts of Sobre los huesos de los muertos by Olga Tokarczuk. 35 x 47 cm each drawing. 1 A la Policía: Me veo obligada a escribir esta carta porque me preocupa la falta de progresos de la policía local en la investigación relacionada con la muerte de mi vecino en enero de este año y con la muerte del comandante un mes y medio después. Estos dos acontecimientos luctuosos tuvieron lugar en las proximidades de mi casa, por lo cual no debería sorprenderles que me encuentre personalmente impresionada y preocupada. Considero que son muchas las pruebas que señala que fueron asesinados. Nunca me habría atrevido a emitir afirmaciones de tanto peso, si no hubiera sido por el hecho (y entiendo que los hechos son para la policía lo mismo que los ladrillos para una casa, o las células para el organismo: sirven para construir todo el sistema) de que, junto a mis amigos, fui testigo no tanto de la propia muerte como de la situación inmediatamente posterior a la muerte, antes aun de que llegara la Honorable Policía. En el primer caso, fue también testigo mi vecino, Swierszczynski; en el segundo, mi antiguo alumno, Dionizy. Mi convicción de que los aludidos fueron víctimas de un asesinato se basa en dos elementos. Primero: en el lugar del crimen, en ambos casos, había animales. En el primer caso, junto a casa de Pie Grande, ambos, el testigo Swierszczynski y yo misma vimos un grupo de corzos (mientras que uno de sus compañeros se hallaba despedazado ya en la cocina de la víctima). En lo referente, por otra parte, al caso del comandante, los testigos, entre ellos la abajo firmante, vimos una numerosa cantidad de huellas de pezuñas de corzos en la nieve junto al pozo en el que fue hallado el cuerpo. Desgraciadamente, un aura no propicia para la Honorable Policía provoco la rápida destrucción de importantes y significativas pruebas que conducían directamente hasta los autores de ambos crímenes. Segundo: decidí mirar cierta información sumamente característica que podemos obtener de los cosmogramas (comúnmente denominados horóscopos) de las víctimas, y tanto en uno como en otro caso parece evidente que pudieron ser atacados por los animales con consecuencias mortales. Se trata de una muy rara colocación de planetas, con tanta mayor convicción lo someto a la atención de la Honorable Policía. Me permito adjuntar ambos horóscopos, con la esperanza de que serán consultados por el astrólogo oficial de la policía, y que este corroborará, por lo tanto, mi hipótesis. Atentamente, DUSZEJKO https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617030990826-7R8N5AC9TZSWGJRPGRDL/14.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. Sobre los huesos de los muertos, 2020. 4 double drawings, ink on paper, texts of Sobre los huesos de los muertos by Olga Tokarczuk. 35 x 47 cm each drawing. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617031201751-J60PN24COIXAS4U9SRU8/15.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. 2 A la policía: Como no he recibido respuesta a mi carta anterior, a pesar de que según la legislación todo servicio público en el país está obligado a dar esa respuesta en un plazo de catorce días, me veo forzada a reiterar mis demandas respecto a los últimos y sumamente trágicos accidentes en nuestras inmediaciones y presentar de esa manera ciertas observaciones que arrojan luz al misterioso asunto de la muerte del comandante y de Gandul, el propietario de la granja de zorros. Si bien parece ser un accidente propio del peligroso trabajo de un policía o quizá un desafortunado concurso de circunstancias, cabe, sin embargo, preguntarse si la Policía ha establecido ¿qué hacía el muerto a aquella hora en aquel lugar? ¿Se conoce su motivación, cualquiera que fuera? Porque a muchas personas, entre ellas a la abajo firmante, le parece sumamente extraño. Por otra parte, la que suscribe estaba en el lugar y constató (cosa que puede ser importante para la Policía) el gran número de huellas de animales, y en particular huellas de pezuñas de corzos. Parecía como si el fallecido hubiera sido inducido a abandonar el coche y conducido hasta unos matorrales bajo los cuales se ocultaba el aciago pozo. Es altamente probable que los corzos perseguidos por él efectuaran una ejecución sumaria. Las circunstancias se repitieron con la siguiente víctima, a pesar de que no es posible afirmar la presencia de huellas tras un periodo de tiempo tan largo. No obstante, la dramaturgia de los acontecimientos puede ser explicada por la naturaleza de esta muerte. Tenemos aquí una situación fácil de imaginar, en la que el fallecido es atraído hasta unos matorrales, a un lugar en el que habitualmente se ponían trampas para animales. Allí cae en un cepo y pierde la vida (cómo ocurrió esto último, es algo que aún hay que establecer). Al mismo tiempo, deseo exhortar a la Honorable Policía a que no se cierre ante la idea de que los autores de los trágicos acontecimientos arriba mencionados puedan ser los mismos animales. He preparado diversa información que arroja algo de luz sobre esta cuestión, ya que es mucho el tiempo transcurrido desde los últimos crímenes perpetrados por estos seres. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617031379965-GQVLTJ1AV8UFP6BKE8W4/16.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. Sobre los huesos de los muertos, 2020. 4 double drawings, ink on paper, texts of Sobre los huesos de los muertos by Olga Tokarczuk. 35 x 47 cm each drawing. He de remitirme a la Biblia, en la que quedó dicho claramente que «si un buey embiste a un hombre o a una mujer y estos mueren, el buey será matado a pedradas». San Bernardo excomulgó a un enjambre de abejas que le impedía hacer su trabajo con su zumbido. Las abejas serían también las responsables de la muerte de un hombre en Worms en el año 846, por lo que el Concilio de Worms decretó la muerte de estas por asfixia. En 1394, en Francia, unos cerdos mataron y devoraron a un niño. La marrana fue condenada a ser colgada, pero sus seis hijos fueron perdonados en consideración a su corta edad. En 1639, en Francia, en Dijon, un juzgado condenó a un caballo por haber matado a un hombre. Y como estos, uno puede hallar casos no solo de asesinato sino también de crímenes contra natura. Y así, en Basilea, en 1471, tuvo lugar un proceso contra una gallina que ponía unos extraños huevos brillantes. Fue condenada a muerte en la hoguera, acusada de tener un pacto con el diablo. He de apuntar, por mi parte, que las limitaciones intelectuales y la crueldad humanas no conocen límites. El más famoso de los procesos se celebró en Francia, en 1521, y fue el proceso de unas ratas que ocasionaron grandes daños en las cosechas. Fueron demandadas y citadas a juicio por los vecinos, y les fue designado un abogado de oficio que resultó ser el hábil jurista Bartholomew Chassenée. Cuando sus clientes no comparecieron a la primera llamada, Chassenée solicitó su aplazamiento, demostrando que vivían sumamente desperdigadas y que de camino a los juzgados los peligros que acechaban eran muchos. Solicitó también al juez que emitiera una garantía de que los gatos pertenecientes a los demandantes no causarían a las demandadas ningún daño de camino al juicio. Desgraciadamente, no pudiendo dar el juez semejante garantía, la causa fue aplazada varias veces. Finalmente, tras un encendido alegato de su defensor, las ratas fueron declaradas inocentes. En 1659, en Italia, los propietarios de unos viñedos devastados por unas orugas redactaron una notificación a modo de citación judicial. Clavaron en los árboles de los alrededores hojas de papel con el contenido de la citación para que las orugas pudieran tomar conocimiento del acta acusatoria. Exponiendo los anteriores hechos históricos, exijo que investiguen con seriedad mis sospechas y conjeturas, en la medida en que demuestran que en la jurisdicción europea estos juicios han ocurrido y pueden ser tratados como precedentes. Al mismo tiempo, solicito no sean castigados los corzos y otros eventuales autores animales de los asesinatos, dado que su presunto acto habría sido una reacción al insensible y cruel comportamiento de las víctimas, que eran, como se desprende de mis escrupulosas pesquisas, cazadores activos. Atentamente, DUSZEJKO https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617031632157-VRA2DN2OR8RM9SFS4M23/17.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. Sobre los huesos de los muertos, 2020. 4 double drawings, ink on paper, texts of Sobre los huesos de los muertos by Olga Tokarczuk. 35 x 47 cm each drawing. 3 A la Policía: Entiendo que la Honorable Policía no tiene posibilidades de responder a las cartas (no anónimas) de los ciudadanos por algún motivo importante. No entraré a cuestionar esos posibles motivos, pero me permito volver sobre un tema que ya apunté en mi carta anterior. Pero no le desearía ni a la Policía, ni a nadie más, ser tan ninguneado. El ciudadano que es ninguneado por las instituciones de alguna manera es condenado a la inexistencia. Sin embargo, es necesario recordar que quien no tiene derechos, tampoco tiene obligaciones. Deseo poner en su conocimiento que he logrado conseguir la fecha de nacimiento del fallecido Gandul (aunque sin la hora, lo cual hace que mi horóscopo sea incierto) y he encontrado algo extraordinariamente interesante, lo que confirma por completo las hipótesis que apunté en su momento. Viene a resultar que el fallecido arriba mencionado tenía en el momento de su muerte a Marte en tránsito en Virgo, lo cual según las mejores reglas de la astrología tradicional tiene muchas analogías con los animales recubiertos de pelo. Al mismo tiempo, su sol en Piscis señala las partes más débiles del cuerpo, como los tobillos. Por lo tanto, todo parece indicar que la muerte de la víctima estaba puntualmente prevista en su carta astral. Así pues, si la Policía tomara en consideración los comentarios de los astrólogos resultaría posible proteger de las desgracias a muchas personas. La ubicación de los planetas nos dice claramente que los autores de este cruel asesinato han sido los animales de pelo, muy probablemente los zorros salvajes o los que huyeron de la granja (o ambos grupos actuando de común acuerdo). De alguna extraña forma llevaron a la víctima hasta los cepos colocados allí desde hacía años por la gente. La víctima cayó en un lazo particularmente atroz, que recibe el nombre de «horca», y quedó colgada en el aire durante mucho tiempo. Este descubrimiento nos lleva a una conclusión de carácter general. Compruebe la Honorable Policía dónde tenían a Saturno las víctimas. Todas ellas tenían a Saturno en signos animales, y el señor Presidente, para colmo de males, en Tauro, lo cual anuncia una muerte violenta por asfixia causada por un animal… Es también mi deseo adjuntar recortes de periódico en los que se analizan las denuncias sobre cierto animal no identificado hasta la fecha, visto en la región de Opole, que parece matar a otros animales de un zarpazo en la caja torácica. Recientemente he visto en la televisión un vídeo filmado con un teléfono móvil, en el que se ve claramente a un tigre joven. Todo ello tiene lugar en la región de Opole, es decir, cerca de donde nos encontramos nosotros. ¿No podría ser que algunos animales del zoológico se hayan salvado de las inundaciones y que se encuentren ahora en libertad? En todo caso, el asunto es digno de ser investigado, tanto más si tenemos en cuenta que los vecinos de los alrededores son víctimas del miedo, o mejor dicho, de un pánico enfermizo… Atentamente, DUSZEJKO https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617031741634-UTDH3RXNN7Y2SSRMCZ0H/18.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. Sobre los huesos de los muertos, 2020. 4 double drawings, ink on paper, texts of Sobre los huesos de los muertos by Olga Tokarczuk. 35 x 47 cm each drawing. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617031876920-7MW1Z73T3A3P2E00PZKE/19.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. Sobre los huesos de los muertos, 2020. 4 double drawings, ink on paper, texts of Sobre los huesos de los muertos by Olga Tokarczuk. 35 x 47 cm each drawing. Los frutos de mi vida fueron modestos, no permiten construir nada con ellos. Pero ¿por qué deberíamos ser útiles, y con respecto a qué? ¿Quién organizó el mundo así y con qué derecho? ¿Acaso un cardo no tiene derecho a la vida, o un ratón que se come el grano de los almacenes, o las abejas y los zánganos, las malas hierbas y las rodas? ¿Quién tuvo el descaro de juzgar quién es mejor? Un árbol, a pesar de estar retorcido y agujereado, puede durar siglos y nadie lo tala porque resulta imposible fabricar nada con él. Ese ejemplo debería levantarnos el ánimo. Todos conocen los beneficios de lo útil, pero nadie reconoce el provecho de lo inútil. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617032022911-C2S9EFZ3S672ZTJOVYSP/20.Sobre-los-huesos-de-los-muertos.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Sobre los huesos de los muertos, 2020. 4 dibujos dobles, tinta sobre papel, textos del libro Sobre los huesos de los muertos de Olga Tokarczuk. 35 x 47 cm cada dibujo. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617032536524-S9ETGV3KKIOMRVB41GVS/21.1.lindero%234.jpg Palacete del Embarcadero. Santander. Doblar la tierra. La linde, el bosque y la mirada, 2018. Palos de pastor, cuerdas del campo, 4 Linderos y tronco de eucalipto. Medidas variables. La linde, el bosque y la mirada, 2018. Sticks of border and field rope, 4 Linderos and eucalyptus trunk. variable measures. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617094854386-KWK9B6RBIFKIKH3XX7OD/6.1.linde.jpg Palacete del Embarcadero. Santander. Doblar la tierra. La linde, 2018. Palos de pastor y cuerda del campo, 260 x 260 cm. La linde, 2018. Sticks of border and field rope, 260 x 260 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617028965773-94YUDCNC5L4ZZ9XR7E8T/4.1.Javier-Arce_Doblar-la-tierra_Palacete-del-Emarcadero.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Vista de la exposición Doblar la tierra. Palacete del Embarcadero, Santander. Exhibition view Doblar la tierra. Palacete del Embarcadero, Santander. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1617094883687-TM1AR13UP66QJ6VRFNHP/7.1.linde_detalle.jpg Palacete del Embarcadero. Santander. Doblar la tierra. Detalle de La linde, 2018. Palos de pastor y cuerda del campo, 260 x 260 cm. Detail of La linde, 2018. Sticks of border and field rope, 260 x 260 cm. http://javierarce.net/del-natural daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639417227530-Q21QI6K94W6S78D5185F/4.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Detalle Sobre lo cercano (Lastra), 2020.Óleo sobre lino, roble. 44 x 42 cm. Detail Sobre lo cercano (Lastra), 2020. Oil on linen, oak stretcher. 44 x 42 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639417227530-Q21QI6K94W6S78D5185F/4.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Detalle Sobre lo cercano (Lastra), 2020.Óleo sobre lino, roble. 44 x 42 cm. Detail Sobre lo cercano (Lastra), 2020. Oil on linen, oak stretcher. 44 x 42 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715781747516-XXJRXSQ765OKCUXM5EDX/3.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Lastra), 2020.Óleo sobre lino, roble. 44 x 42 cm. Sobre lo cercano (Lastra), 2020. Oil on linen, oak stretcher. 44 x 42 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639416804779-MKSFHQP3FEFRN29IMTW9/2.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639417440331-O04MAP4BSHE7DYKY2SG9/5.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Charca), 2021. Óleo sobre lino, roble, 44 x 30 cm. Sobre lo cercano (Charca), 2021. Oil on linen, oak stretcher. 44 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639418045064-PKMN9AVF7KMBRSMHHUNK/6.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Detalle Sobre lo cercano (Charca), 2021. Óleo sobre lino, roble, 44 x 30 cm. Detail Sobre lo cercano (Charca), 2021. Oil on linen, oak stretcher. 44 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639423867435-8LXSK19YC7PXLLCOBTCB/DSC_7374.jpg Galería The Goma, Madrid. Del natural. Vista de la exposición Del natural. Galería The Goma, Madrid. Exhibition view Del natural. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639588708102-U4MVT98FU839FQUZBWE2/8.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Sur nocturno), 2021. Óleo sobre lino, fresno. 30 x 30 cm. Sobre lo cercano (Sur nocturno), 2021. Oil on linen, ash tree stretcher. 30 x 30 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639416385400-WTUBTYK7WCBC7AR1KT6C/1.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Vista de la exposición Del natural. Galería The Goma, Madrid. Exhibition view Del natural. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715781974100-CARIVN31I9UZXPIMB5AH/9.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Vaca), 2020. Óleo sobre lino, roble. 40 x 30cm. Sobre lo cercano (Vaca), 2020. Oil on linen, oak stretcher. 40 x 30 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639589786405-S139WN8PQ8LGCWOSS3RA/10.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Detalle de Sobre lo cercano (Vaca), 2020. Óleo sobre lino, roble. 40 x 30cm. Detail of Sobre lo cercano (Vaca), 2020. Oil on linen, oak stretcher. 40 x 30 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639590302247-KVV6JE3XYAQ2E40OSZLS/11.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Vista de la exposición Del natural. Galería The Goma, Madrid. Exhibition view Del natural. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639590754278-61GG64YVYQ2HFP0K9XAP/12.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Arthur Rusell meets Angelica Sylvestris), 2021. Óleo sobre lino, roble. 42 x 42 cm. Sobre lo cercano (Arthur Rusell meets Angelica Sylvestris), 2021. Oil on linen, oak stretcher. 42 x 42 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639591007174-44K8SZI0ZYDKFMV3Y9D6/13.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Detalle de Sobre lo cercano (Arthur Rusell meets Angelica Sylvestris), 2021. Óleo sobre lino, roble. 42 x 42 cm. Detail of Sobre lo cercano (Arthur Rusell meets Angelica Sylvestris), 2021. Oil on linen, oak stretcher. 42 x 42 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782968364-TTE6ET9DW81KXFQAUIIB/14.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Paul Rupestre), 2021. Óleo sobre lino, eucalipto. 33 x 33 cm. Sobre lo cercano (Paul Rupestre), 2021. Oil on linen, eucalyptus stretcher. 33 x 33 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639591976864-XDEW02C2EEVPT17TLIXI/16.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Vista de la exposición Del natural. Galería The Goma, Madrid. Exhibition view Del natural. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639591846671-003TVFZR9RDPUORB6JLH/15.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Fresno), 2021. Óleo sobre lino, fresno. 36 x 24 cm. Sobre lo cercano (Fresno), 2021. Oil on linen, ash tree stretcher. 36 x 24 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639592677760-737H3TDR62BQU6PXNNSG/17.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Trasera de Sobre lo cercano (Fresno), 2021. Óleo sobre lino, fresno. 36 x 24 cm. Back of Sobre lo cercano (Fresno), 2021. Oil on linen, ash tree stretcher. 36 x 24 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639675682273-9GOA4BSZFNQEJ53NFVBE/18.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Vista de la exposición Del natural. Galería The Goma, Madrid. Exhibition view Del natural. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639675810975-I2Q8BW0BSDLQ4DIY0FEN/19.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639676002473-GOZ2YZVXN344K88GL2OX/20.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Historia de un arroyo), 2021. Óleo sobre lino, roble. 35 x 27 cm. Sobre lo cercano (Historia de un arroyo), 2021. Oil on linen, oak stretcher. 35 x 27 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639676248184-5TBHIEPE9VAOY18CTJER/21.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Detalle Sobre lo cercano (Historia de un arroyo), 2021. Óleo sobre lino, roble. 35 x 27 cm. Detail Sobre lo cercano (Historia de un arroyo), 2021. Oil on linen, oak stretcher. 35 x 27 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639676397191-JMFJZNMJC83FD0EBC4DA/22.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Superluna), 2021. Óleo sobre lino, avellano. 28 x 26 cm. Sobre lo cercano (Superluna), 2021. Oil on linen, hazel tree stretcher. 28 x 26 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639676634682-Z2HZ2RULSZ7W20CJRT6G/23.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Detalle Sobre lo cercano (Superluna), 2021. Óleo sobre lino, avellano. 28 x 26 cm. Detail Sobre lo cercano (Superluna), 2021. Oil on linen, hazel tree stretcher. 28 x 26 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639676926701-MRO4DJZY8DBQZDEGDK83/24.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Belén saludando al sol), 2020. Óleo sobre lino, fresno. 38 x 33 cm. Sobre lo cercano (Belén saludando al sol), 2020. Oil on linen, ash tree stretcher. 38 x 33 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1639677139018-XYKOI3OCJWRCW0R3POJ5/25.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Vista de la exposición Del natural. Galería The Goma, Madrid. Exhibition view Del natural. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782071001-AJ0XHBT7BV8R6HM3LJHN/26.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Cervatos), 2021. Óleo sobre lino, avellano. 46 x 39 cm. Sobre lo cercano (Cervatos), 2021. Oil on linen, hazel tree stretcher. 46 x 39 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715783027798-KYAL9JIS895OPFXYP60M/27.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano ( Bambú). 2020. Óleo sobre lino, roble. 35 x 27 cm. Sobre lo cercano ( Bambú). 2020. Oil on linen, oak. 35 x 27 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715783051346-U0ICZTSBJTBMGSTMTQGM/28.javier-arce-_del-natural.jpg Galería The Goma, Madrid. Del natural. Trasera Sobre lo cercano ( Bambú). 2020. Óleo sobre lino, roble. 35 x 27 cm. Back of Sobre lo cercano ( Bambú). 2020. Oil on linen, oak. 35 x 27 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1677769104826-30UFD7QB2DOSA1LA3P6R/1.Sendero.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Sendero), 2022.Óleo sobre lino, manzano. 34 x 26 cm. Sobre lo cercano (Sendero), 2022. Oil on linen, natural apple tree. 34 x 26 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715783095265-ZL7XX7J6G62TC1FMSZCF/3.sendero_detalle-web.jpg Galería The Goma, Madrid. Del natural. Detalle Sobre lo cercano (Sendero), 2022.Óleo sobre lino, manzano. 34 x 26 cm. Detail Sobre lo cercano (Sendero), 2022. Oil on linen, natural apple tree. 34 x 26 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1677770374818-7DTJFP2GKIS2LVDAGFVE/1.Dos-anarquistas-pasean.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Dos anarquistas pasean), 2022.Óleo sobre lino, avellano. 20 x 24 cm. Sobre lo cercano (Dos anarquistas pasean), 2022. Oil on linen, natural hazel tree. 20 x 24 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1677770637600-PYYTRR82D3JRH0GIM2DF/2.Dos-anarquistas-pasean_detalle.jpg Galería The Goma, Madrid. Del natural. Detalle Sobre lo cercano (Dos anarquistas pasean), 2022.Óleo sobre lino, avellano. 20 x 24 cm. Detail Sobre lo cercano (Dos anarquistas pasean), 2022. Oil on linen, natural hazel tree. 20 x 24 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1677771438353-S9X69PK2VNAJO7JOMZFS/1.Sobre-lo-cercano-%28Vega-de-Pas%29.jpg Galería The Goma, Madrid. Del natural. Sobre lo cercano (Vega de Pas), 2022.Óleo sobre lino, avellano. 22 x 21 cm. Sobre lo cercano (Vega de Pas), 2022. Oil on linen, natural hazel tree. 22 x 21 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1677771946671-4HZD7RIHTA39UFSPA62I/2.Sobre-lo-cercano-%28Vega-de-Pas%29_detalle.jpg Galería The Goma, Madrid. Del natural. Detalle Sobre lo cercano (Vega de Pas), 2022.Óleo sobre lino, avellano. 22 x 21 cm. Detail Sobre lo cercano (Vega de Pas), 2022. Oil on linen, natural hazel tree. 22 x 21 cm http://javierarce.net/on-the-closeathand daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715781485134-KIYN2Y9J9BNA4R1CLV9F/1.From-nature_cindy-Rucker_JA.jpg Cindy Rucker Gallery, New York. From nature. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715781485134-KIYN2Y9J9BNA4R1CLV9F/1.From-nature_cindy-Rucker_JA.jpg Cindy Rucker Gallery, New York. From nature. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1683626189073-TUGRC2E2T8IO6FS5U8BG/2.Seco_detalle.jpg Cindy Rucker Gallery, New York. From nature. Detail On the close-at-hand (Seco), 2022. Oil on linen, rhododendron stretcher. 14,9 x 13,7 in. Detalle On the close-at-hand (Seco), 2022. Óleo sobre lino, bastidor de rododendro. 38 x 35 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1683706318512-IKQOBD9IU2BDZDCY1SQP/1.Seco.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Seco), 2022. Oil on linen, rhododendron stretcher. 14,9 x 13,7 in. On the close-at-hand (Seco), 2022. Óleo sobre lino, bastidor de rododendro. 38 x 35 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1683628219307-C06G4YR5AZE29II7MY00/1.Sobre-lo-cercano-%28Desde-la-ventana%29.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Desde mi ventana), 2022.Oil on linen, oak stretcher, 12,9 x 11,4 in. On the close-at-hand (Desde mi ventana), 2022.Óleo sobre lino, bastidor de roble, 33 x 29 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1683628233875-W61T1AQMZKG5B8UMR3UV/3.Sobre-lo-cercano-%28Desde-la-ventana%29_trasera.jpg Cindy Rucker Gallery, New York. From nature. Back, On the close-at-hand (Desde mi ventana), 2022.Oil on linen, oak stretcher, 12,9 x 11,4 in. Trasera, On the close -at-hand (Desde mi ventana), 2022.Óleo sobre lino, bastidor de roble, 33 x 29 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715781431627-G6L4T0ZFAL1TRJM69MQ3/2.From-nature_cindy-Rucker_JA.jpg Cindy Rucker Gallery, New York. From nature. General view of the exhibition From nature. Vista general de la exposicion From nature. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1645123722073-GGWKFRXY9AGQE3TSD85W/7.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Sango-kaku Winter), 2020. Oil on linen, oak stretcher. 14.6 x 13.8 in. On the close-at-hand (Sango-kaku Winter), 2020. Óleo sobre lino, bastidor de roble. 37 x 35 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1645123932275-OHCIOHZHNT52HYXHJUKY/8.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. Detail On the close-at-hand (Sango-kaku Winter), 2020. Oil on linen, oak stretcher. 14.6 x 13.8 in. Detalle On the close-at-hand (Sango-kaku Winter), 2020. Óleo sobre lino, bastidor de roble. 37 x 35 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1646318321894-CQ7FHFWKJR0HEZ1UQ6PO/15.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Feismo, Pedro's house), 2021. Oil on linen, ash tree stretcher. 13.4 x 12.6 in. On the close-at-hand (Feismo, Pedro's house), 2021. Óleo sobre lino, bastidor de fresno. 34 x 32 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782561614-JZ23DMAV90YH35R7S3WG/1.On-the-close-at-hand-%2528free-evolution%2529.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Libre Evolucion), 2023. oil on linen, hazelnut stretcher. 11.8 x 9.4 in. On the close-at-hand (Libre Evolución), 2023. óleo sobre lino, bastidor de avellana. 30 x 24 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715783271575-9Z5CVV40N8CU1MP16EKH/26.Javier_arce_On-the-close-at-hand-%2528the-anti-environmentalist%2529_detail-2.jpg Cindy Rucker Gallery, New York. From nature. Detail of On the close-at-hand (Amable), 2021. Oil on linen, eucalyptus stretcher. 17.7 x 12.2 in. Detalle de On the close-at-hand (Amable), 2021. Óleo sobre lino, bastidor de eucalipto. 45 x 31 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782404945-SNINWZTRJUVL3ZV06AXB/25.Javier_arce_On-the-close-at-hand-%2528the-anti-environmentalist%2529_detail-2.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Amable), 2021. Oil on linen, eucalyptus stretcher. 17.7 x 12.2 in. On the close-at-hand (Amable), 2021. Óleo sobre lino, bastidor de eucalipto. 45 x 31 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1646319079993-JE71CT295WO7QNLNG87T/22.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. Detail of On the close-at-hand (burnt brown), 2021. Oil on linen, hazel stretcher. 12.6 x 12.6 in. Detalle de On the close-at-hand (burnt brown), 2021. Óleo sobre lino, bastidor de avellano. 32 x 32 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1646319068924-20JJDKWP6NMOIE2OG2TF/21.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (burnt brown), 2021. Oil on linen, hazel stretcher. 12.6 x 12.6 in. On the close-at-hand (burnt brown), 2021. Óleo sobre lino, bastidor de avellano. 32 x 32 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1646318773821-G6OEGVP2Y8F2NLL0ZSFX/19.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Obey), 2021. Oil on linen, eucalyptus stretcher. 17.3 x 17.7 in. On the close-at-hand (Obey), 2021. Óleo sobre lino, bastidor de eucalipto. 44 x 45 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1646318785624-7YJXSQA9644I0GWYTW07/20.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. Detail of On the close-at-hand (Obey), 2021. Oil on linen, eucalyptus stretcher. 17.3 x 17.7 in. Detalle de On the close-at-hand (Obey), 2021. Óleo sobre lino, bastidor de eucalipto. 44 x 45 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1645108928713-GF8T85Y5YX1F0C9P7P70/1.Javier-arce-_On-the-close-at-hand-%28Muhlenbergia-capillaris%29.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Muhlenbergia capillaris), 2021. Oil on linen, oak stretcher. 16.5 x 14.6 in. On the close-at-hand (Muhlenbergia capillaris), 2021. Óleo sobre lino, bastidor de roble. 42 x 37 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782502714-JMB8UZL7VF4249YVHLBZ/2.Javier-arce_On-the-close-at-hand-%252528Muhlenbergia-capillaris%252529_detail.jpg Cindy Rucker Gallery, New York. From nature. Detail of On the close-at-hand (Muhlenbergia capillaris), 2021. Oil on linen, oak stretcher. 16.5 x 14.6 in. Detalle de On the close-at-hand (Muhlenbergia capillaris), 2021. Óleo sobre lino, bastidor de roble. 42 x 37 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715783313614-3GYZT5GV3FUR9E8NFJRT/6.From-nature_cindy-Rucker_JA.jpg Cindy Rucker Gallery, New York. From nature. General view of the exhibition From nature. Vista general de la exposicion From nature. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715783182234-Q9OD5QDBDH43N7ISGEKC/11.From-nature_cindy-Rucker_JA.jpg Cindy Rucker Gallery, New York. From nature. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1683629953111-0J9BUUJQ5KT00WY7QVKL/1.Sobre-lo-cercano-%28Piedra-niebla%29.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Piedra niebla), 2023. Oil on linen, rhododendron stretcher. 11.4 x 10.2 in. On the close-at-hand (Piedra niebla), 2023. Óleo sobre lino, bastidor de rododendro. 29 x 26 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1645122863209-OLTX1825S0QEC62QGX9N/4.Javier--Arce_On-the-close-at-hand-%28the-anti-environmentalist%29.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (the anti-environmentalist), 2022. Oil on linen, eucalyptus stretcher. 17.9 x 14.6 in. On the close-at-hand (the anti-environmentalist), 2022. Óleo sobre lino, bastidor de eucalipto. 45,5 x 37 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1645122974443-5NHDRL9JMY8YGD3JSTJY/5.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. Detail of On the close-at-hand (the anti-environmentalist), 2022. Oil on linen, eucalyptus stretcher. 17.9 x 14.6 in. Detalle de On the close-at-hand (the anti-environmentalist), 2022. Óleo sobre lino, bastidor de eucalipto. 45,5 x 37 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782666077-I7NL97TX0L86OB9J3D6B/27.Javier_arce_On-the-close-at-hand-%2528the-anti-environmentalist%2529_detail-2.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (High land), 2021. Oil on linen, hazel stretcher. 12.6 x 14.2 in. On the close-at-hand (High land), 2021. Óleo sobre lino, bastidor de avellano. 32 x 36 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1646320051113-MF71FR9NV4MZOJNJKCI6/28.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. Detail of On the close-at-hand (High land), 2021. Oil on linen, hazel stretcher. 12.6 x 14.2 in. Detalle de On the close-at-hand (High land), 2021. Óleo sobre lino, bastidor de avellano. 32 x 36 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1683630188802-HHOLBX7X8WLDJ7OAVH0D/1.Sobre-lo-cercano-%28Piel%29.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Piel), 2023. Oil on linen, eucalyptus stretcher. 16.9 x 14.2 in. On the close-at-hand (Piel), 2023. Óleo sobre lino, bastidor de eucalipto. 43 x 36 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782715071-CNNX6JPRO0SR8VQNPIQ9/7.From-nature_cindy-Rucker_JA.jpg Cindy Rucker Gallery, New York. From nature. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1646319737266-IMVXGZ11PCIDOIXZNFHU/24.Javier_arce_On-the-close-at-hand-%28the-anti-environmentalist%29_detail-2.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (tree bark), 2022. Oil on linen, hazel stretcher. 15 x 15 in. On the close-at-hand (tree bark), 2022. Óleo sobre lino, bastidor de avellano. 43,5 x 32 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1646319640446-9AT08PYM1CYXX8K1LPTD/18.Javier_arce_On-the-close-at-hand-%2528the-anti-environmentalist%2529_detail-2.jpg Cindy Rucker Gallery, New York. From nature. Detail of On the close-at-hand (Trip with Alister Carmichael), 2021. Oil on linen, hazel stretcher. 18.1 x 18.5 in. Detalle de On the close-at-hand (Trip with Alister Carmichael), 2021. Óleo sobre lino, bastidor de avellano. 46 x 47 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782779150-W4MH46YJVCMNWMPOVJW8/17.Javier_arce_On-the-close-at-hand-%2528the-anti-environmentalist%2529_detail-2.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Trip with Alister Carmichael), 2021. Oil on linen, hazel stretcher. 18.1 x 18.5 in. On the close-at-hand (Trip with Alister Carmichael), 2021. Óleo sobre lino, bastidor de avellano. 46 x 47 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1683625898582-B3NYNQLPHTA9L61UFE1T/10.From-nature_cindy-Rucker_JA.jpg Cindy Rucker Gallery, New York. From nature. General view of the exhibition From nature. Vista general de la exposicion From nature. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782836671-5UG762NX9SOAOB3P1IUL/1.On-the-close-at-hand-%2528Foret-primaire%2529.jpg Cindy Rucker Gallery, New York. From nature. On the close-at-hand (Foret primaire), 2023.Oil on linen, liquidámbar stretcher, 17.7 x 14.1 in. On the close-at-hand (Foret primaire), 2023. Óleo sobre lino, bastidor de liquidambar, 45 x 36 cm. http://javierarce.net/marsun-contrato-natural daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1661497204502-U47QWHFH51ZA426EL8SU/5.javier-arce-mares.jpg Marès....un contrato natural. Vista parcial de la exposcion Marès…un contrato general, Centro de Arte Contemporaneo Andratx https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1661497204502-U47QWHFH51ZA426EL8SU/5.javier-arce-mares.jpg Marès....un contrato natural. Vista parcial de la exposcion Marès…un contrato general, Centro de Arte Contemporaneo Andratx https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656426699647-LX0N3V3EYF0RUG3IKDGY/0.javier-arce-mares.jpg Marès....un contrato natural. Detalle de Micropolítica#8, 2022.Hojas de palmera, picadis. 220 x 140 x 20cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656426371350-F49658CZ36IE63QUF2TO/1.javier-arce-mares.jpg Marès....un contrato natural. Micropolítica#8, 2022.Hojas de palmera, picadis. 220 x 140 x 20cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656426946014-5BR611JB6J6WJ2CUNM6B/3.javier-arce-mares.jpg Marès....un contrato natural. Detalle de Micropolitica#14,2022. Corteza de palmera, picadis, conchas de mar, manta de fieltro. 80 x 28 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656427105691-ZIL0MTISG96PA2TC54PF/4.javier-arce-mares.jpg Marès....un contrato natural. Micropolitica#14,2022. Corteza de palmera, picadis, conchas de mar, manta de fieltro. 80 x 28 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1661497433238-13BBXSHKWLXN1GKHL4CK/16.javier-arce-mares.jpg Marès....un contrato natural. Vista parcial de la exposcion Marès…un contrato general, Centro de Arte Contemporaneo Andratx https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656430699084-PYW9E69FJPZ05JUAO857/8.javier-arce-mares.jpg Marès....un contrato natural. Micropolitica#7, 2022. Olla mallorquina, picadis, piedra de cuneta y marès. 45 x 30 x 45 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656430847438-7NMKDBBTNFLI2KDZ4D0A/9.javier-arce-mares.jpg Marès....un contrato natural. Micropolitica#7, 2022. Olla mallorquina, picadis, piedra de cuneta y marès. 45 x 30 x 45 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656433200886-1A1BHF9IN0AKAVKZFUYT/10.javier-arce-mares.jpg Marès....un contrato natural. Micropolítica#15, 2022. Pieles rusticas marès, cuerda de algodón y picadis, alga seca y rama de olivo regalada por Marino y Belen. 90 x 90 x 40cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656433276200-QMASXD7O5FYFVJ4MR5WU/11.javier-arce-mares.jpg Marès....un contrato natural. Micropolítica#15, 2022. Pieles rusticas marès, cuerda de algodón y picadis, alga seca y rama de olivo regalada por Marino y Belen. 90 x 90 x 40cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656433350616-MRTV8Q8WQCKF286WC0IQ/12.javier-arce-mares.jpg Marès....un contrato natural. Micropolítica#15, 2022. Pieles rusticas marès, cuerda de algodón y picadis, alga seca y rama de olivo regalada por Marino y Belen. 90 x 90 x 40cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656433421418-PSSE74GDEIH5YTS67DPA/13.javier-arce-mares.jpg Marès....un contrato natural. Micropolítica#15, 2022. Pieles rusticas marès, cuerda de algodón y picadis, alga seca y rama de olivo regalada por Marino y Belen. 90 x 90 x 40cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1661497564457-D3EMXMAZR2MWIQH42GOB/3.-CCA_javier-arce.jpg Marès....un contrato natural. Vista parcial de la exposcion Marès…un contrato general, Centro de Arte Contemporaneo Andratx https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656427527247-ZIQXDCNWIMVLAYZV11R1/6.javier-arce-mares.jpg Marès....un contrato natural. Micropolitica#11, 2022.Corteza de palmera, picadis, conchas de mar. 50 x 50 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656427669015-FK5GG43BW6HNJQK21RB1/7.javier-arce-mares.jpg Marès....un contrato natural. Detalle de Micropolitica#11, 2022.Corteza de palmera, picadis, conchas de mar. 50 x 50 x 30 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656433815429-VMKS7JZEWKJ29F3BWOE6/14.javier-arce-mares.jpg Marès....un contrato natural. Micropolitica#16, 2022. Taburete de plástico, picadis, impresión laser sobre papel. 46 x 35 x 35 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656433884238-RG16P0IQF3Q31CA0Z7DJ/15.javier-arce-mares.jpg Marès....un contrato natural. Detalle de Micropolitica#16, 2022. Taburete de plástico, picadis, impresión laser sobre papel. 46 x 35 x 35 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656569895989-W0Y91UKKJ4Z75NI9SJSG/17.javier-arce-mares.jpg Marès....un contrato natural. Micropolitica#12, 2022. Alfombra de yute, tronco encontrado, cuerda de algodón y picadis, piedra verde regala por Marino. 110 x 60 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656569906086-DGWI72IAPGPSKS3YM8KS/18.javier-arce-mares.jpg Marès....un contrato natural. Micropolitica#12, 2022. Alfombra de yute, tronco encontrado, cuerda de algodón y picadis, piedra verde regala por Marino. 110 x 60 x 20 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656570409730-7181CP81IV10XE90J7Z4/21.javier-arce-mares.jpg Marès....un contrato natural. Detalle de Micropolitica#10, 2022. Tronco de mimosa, picadis, cuerda de algodón y picadis, impresión laser sobre papel. 180 x 80 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656570389902-UAB08UOHFL463X6HTG8P/19.javier-arce-mares.jpg Marès....un contrato natural. Micropolitica#10, 2022. Tronco de mimosa, picadis, cuerda de algodón y picadis, impresión laser sobre papel. 180 x 80 x 70 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1656570401044-Y6F2STSJYCAAX5MF6CT0/20.javier-arce-mares.jpg Marès....un contrato natural. Detalle de Micropolitica#10, 2022. Tronco de mimosa, picadis, cuerda de algodón y picadis, impresión laser sobre papel. 180 x 80 x 70 cm. http://javierarce.net/del-natural-1 daily 0.75 2025-07-16 http://javierarce.net/galera-the-goma-madrid-to-paint-is-to-love-again daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701263512986-R3ZT4I80ZI28X4KT5WQL/8.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701263512986-R3ZT4I80ZI28X4KT5WQL/8.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701251884553-ZDEA64JMF3DGFPBPVWA9/2.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Sobre lo cercano (Katsura), 2023. Óleo sobre lino, bastidor natural de avellano. 34 x 35,5 cm. Sobre lo cercano (Katsura), 2023. Oil on linen, natural hazelwood stretcher. 34 x 35,5 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701251903337-6P38RG7KHWCNL174U79H/3.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Vista de la exposición To paint is to love Again. Galería The Goma, Madrid. Exhibition view To paint is to love Again. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701252262859-ZBQE4JL6NQ9WK837RCOC/4.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Sobre lo cercano (La casa de la zorra), 2023. Óleo sobre lino, bastidor natural de liquidámbar. 35 x 29 cm. Sobre lo cercano (La casa de la zorra), 2023. Oil on linen, sweetgum natural stretcher. 35 x 29 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701263010392-0QY1FS1OQAZASL61XQKN/5.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Sobre lo cercano (the anti-environmentalist), 2022. Óleo sobre lino, bastidor natural de eucalipto. 45,5 x 37 cm. Sobre lo cercano (the anti-environmentalist), 2022. Oil on linen, eucalyptus natural stretcher.. 45,5 x 37 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701263211879-Z72JD4TF9T3YKWO3HSUH/6.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Vista de la exposición To paint is to love Again. Galería The Goma, Madrid. Exhibition view To paint is to love Again. The Goma Gallery, Madrid. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701263497922-7K4219MIRT2M0CIV04VH/7.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701263612828-L3TGOJ9452OOR33H1M5R/9.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Panel de varas de avellano entrelazado. 2023. 240 x 122 cm. Panel of interlaced hazel rods. 2023. 240 x 122 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701077998242-98DFCBOHAI84U4QISLVO/1.1.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701429900128-QTMOR9Z6IYEC99BIPRCT/10.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Sobre lo cercano (Pisueña), 2023. Óleo sobre lino, bastidor natural de roble. 45 x 28 cm. Sobre lo cercano (Pisueña), 2023. Oil on linen, natural oaktree stretcher. 45 x 28 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782308907-LTCW22K7IOU3W5C3W8SY/11.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Detalle de Sobre lo cercano (Waka), 2023. Óleo sobre lino, bastidor natural de avellano. 28 x 25,5 cm. Detail of Sobre lo cercano (Waka), 2023. Oil on linen, natural hazelwood stretcher. 28 x 25,5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701430203939-52WRRR1PLF7DWAD3VO1G/12.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Sobre lo cercano (Waka), 2023. Óleo sobre lino, bastidor natural de avellano. 28 x 25,5 cm. Sobre lo cercano (Waka), 2023. Oil on linen, natural hazelwood stretcher. 28 x 25,5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701430597186-ZNZL1K919EP5L00BLSEL/13.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Sobre lo cercano (Pila), 2020. Óleo sobre lino, bastidor natural de fresno. 26 x 46 cm. Sobre lo cercano (Pila), 2020. Oil on linen, natural ashwood stretcher. 26 x 46 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701430796068-S90UQWKS9HS0TBPVUWED/14.javier-Arce_-to-paint-is-to-love-again.jpg Galería The Goma, Madrid. To paint is to love again. Sobre lo cercano (Cariñoso), 2023. Óleo sobre lino, bastidor natural de avellano. 28 x 24,5 cm. Sobre lo cercano (Cariñoso), 2023. Oil on linen, natural hazelwood stretcher. 28 x 24,5 cm http://javierarce.net/publicaciones- daily 0.75 2023-11-27 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701094522979-Y3520GEN8CBM53U44EI6/Desde-la-naturaleza-I-1024x827.jpeg Publicaciones / Publications Desde la Naturaleza 2023 Fundación Didac, Ayuntamiento Miengo Español Paperback 27 x 18,5 cm ISBN SA 460-2023 Between 2011 and 2012 Kevin Power wrote an extensive book of poems about death. About his own death. He selected several groups of poems from different books and sent them to ten artist friends. Among them was Javier Arce. He explained to each one that, within the group of poems they had just received, there was something that especially concerned them, something that only they could capture. Kevin's intention was to create a special publication as the result of the dialogue proposed to this group of artists. Arce presents a group of new paintings that empathize with a new way of dwelling in which everything appears to be suffused with stillness. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701094522979-Y3520GEN8CBM53U44EI6/Desde-la-naturaleza-I-1024x827.jpeg Publicaciones / Publications Desde la Naturaleza 2023 Fundación Didac, Ayuntamiento Miengo Español Paperback 27 x 18,5 cm ISBN SA 460-2023 Between 2011 and 2012 Kevin Power wrote an extensive book of poems about death. About his own death. He selected several groups of poems from different books and sent them to ten artist friends. Among them was Javier Arce. He explained to each one that, within the group of poems they had just received, there was something that especially concerned them, something that only they could capture. Kevin's intention was to create a special publication as the result of the dialogue proposed to this group of artists. Arce presents a group of new paintings that empathize with a new way of dwelling in which everything appears to be suffused with stillness. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701094586007-4KP6RDG1X3YUAQOSBR5T/Desde-la-naturaleza-II-1536x1240.jpeg Publicaciones / Publications https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701094607585-DELHBP3P4BFRDEY33I7M/Desde-la-naturaleza-III-1536x1240.jpeg Publicaciones / Publications https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701094865669-GJ4N9KZSEI0ZQO57WBFD/JavierArceB7-1536x1114.jpg Publicaciones / Publications https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701094623033-0A0AKDPZN016W1KBX6KO/Desde-la-naturaleza-IV-1536x1240.jpeg Publicaciones / Publications http://javierarce.net/sobre-como-puede-flotar-una-uva-en-el-ocano daily 0.75 2023-11-27 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701095053793-P29FWUXPORXKG24BSUM9/plantillas-Sobre-como-puede-flotar-una-uva-en-el-oceano-e1657819687877.jpg Sobre como puede flotar una uva en el océano Sobre cómo puede flotar una uva en el océano 2019 Bienal de fotografía de Córdoba. BBVA. Spanish and Arabic Paperback 164 pages 34 x 23 cm Publication with a sequence of more than 40 portraits by Antonio Cavilla, photographs of Javier Arce's work and texts by Javier San Martín, María Virginia Jaua and Javier Orcaray. Presented in a format that nods to the illustrated magazines of the late XIX and XX centuries. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701095053793-P29FWUXPORXKG24BSUM9/plantillas-Sobre-como-puede-flotar-una-uva-en-el-oceano-e1657819687877.jpg Sobre como puede flotar una uva en el océano Sobre cómo puede flotar una uva en el océano 2019 Bienal de fotografía de Córdoba. BBVA. Spanish and Arabic Paperback 164 pages 34 x 23 cm Publication with a sequence of more than 40 portraits by Antonio Cavilla, photographs of Javier Arce's work and texts by Javier San Martín, María Virginia Jaua and Javier Orcaray. Presented in a format that nods to the illustrated magazines of the late XIX and XX centuries. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701095092255-2R3NJRHH5RJB08ZQJ38P/plantillas-Sobre-como-puede-flotar-una-uva-en-el-oceano2-1536x1024.jpg Sobre como puede flotar una uva en el océano https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701095107637-1V2W6MZWSQ9JMCZYQB3S/plantillas-Sobre-como-puede-flotar-una-uva-en-el-oceano6-e1657819584615-1536x714-1.jpg Sobre como puede flotar una uva en el océano https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1701095232046-G409VB57MWM17TPS8UW7/plantillas-Sobre-como-puede-flotar-una-uva-en-el-oceano6-e1657819584615-1536x714.jpg Sobre como puede flotar una uva en el océano http://javierarce.net/fundacion-didacsantiago-de-compostela daily 0.75 2025-07-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715612169311-LADZ49AIUM02ME7YO2M0/1.DIDAC_Javier-Arce.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Vista de la exposición ¡Bon Hiver! Pinturas estacionais. Fundación DIDAC, Santiago de Compostela. Exhibition view ¡Bon Hiver! Pinturas estacionais. DIDAC Foundation, Santiago de Compostela. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715612169311-LADZ49AIUM02ME7YO2M0/1.DIDAC_Javier-Arce.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Vista de la exposición ¡Bon Hiver! Pinturas estacionais. Fundación DIDAC, Santiago de Compostela. Exhibition view ¡Bon Hiver! Pinturas estacionais. DIDAC Foundation, Santiago de Compostela. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715685379496-RWXAPCNDJIW3FAGVTFUF/1.Sobre-lo-cercano-%2528Lunada%2529.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Sobre lo cercano (Lunada), 2023. Óleo, lino, avellano. 47 x 37 cm. Sobre lo cercano (Lunada), 2023Oil, linen, hazelnut natural stretcher.. 47 x 37 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715685288684-BDMK1KN1B9IRYA0JTO8T/2.Sobre-lo-cercano-%2528Lunada%2529_detalle.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Detalle Sobre lo cercano (Lunada), 2023. Óleo, lino, avellano. 47 x 37 cm. Detail Sobre lo cercano (Lunada), 2023Oil, linen, hazelnut natural stretcher.. 47 x 37 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715632345180-IECRZOEFW7S74LBU6IAX/5.javier-arce-didac.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Vista de la exposición ¡Bon Hiver! Pinturas estacionais. Fundación DIDAC, Santiago de Compostela. Exhibition view ¡Bon Hiver! Pinturas estacionais. DIDAC Foundation, Santiago de Compostela. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782128061-XWL7YFKQXNKVPSD0QH2D/1.Sobre-lo-cercano-%2528Para-escuchar-la-lluvia%2529.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Sobre lo cercano (Para escuchar la lluvia), 2023. Óleo, lino, liquidámbar. 39 x 31 cm. Sobre lo cercano (Para escuchar la lluvia), 2023. Oil, linen, sweetgum natural stretcher. 39 x 31 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715632157993-BLPJAZL4WVU54OOBFCF8/2.Sobre-lo-cercano-%2528Para-escuchar-la-lluvia%2529_detalle.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Detalle Sobre lo cercano (Para escuchar la lluvia), 2023. Óleo, lino, liquidámbar. 39 x 31 cm. Detail Sobre lo cercano (Para escuchar la lluvia), 2023. Oil, linen, sweetgum natural stretcher. 39 x 31 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715679012553-KP2YXL52XV1U6UFG6VNY/3.DIDAC_Javier-Arce.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Vista de la exposición ¡Bon Hiver! Pinturas estacionais. Fundación DIDAC, Santiago de Compostela. Exhibition view ¡Bon Hiver! Pinturas estacionais. DIDAC Foundation, Santiago de Compostela. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715781329274-KDJOWPIKJCOA3OWZA8G7/1.Sobre-lo-cercano-%2528Waka%2529.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Sobre lo cercano (Waka), 2023. Óleo sobre lino, bastidor natural de avellano. 28 x 25,5 cm. Sobre lo cercano (Waka), 2023. Oil on linen, natural hazelwood stretcher. 28 x 25,5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782162744-U5K8X1AZF6MKJBNYDL3L/2.Sobre-lo-cercano-%252528Waka%252529_detalle.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Detalle Sobre lo cercano (Waka), 2023. Óleo sobre lino, bastidor natural de avellano. 28 x 25,5 cm. Detail Sobre lo cercano (Waka), 2023. Oil on linen, natural hazelwood stretcher. 28 x 25,5 cm https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715612366071-UEGOZQQGD26V7RHNSQII/2.DIDAC_Javier-Arce.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Vista de la exposición ¡Bon Hiver! Pinturas estacionais. Fundación DIDAC, Santiago de Compostela. Exhibition view ¡Bon Hiver! Pinturas estacionais. DIDAC Foundation, Santiago de Compostela. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782206870-UGUKKNFZ5KSQ5U2O9GRS/1.Sobre-lo-cercano-%2528Historia-de-un-Arbol%2529.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Sobre lo cercano (Historia de un árbol), 2021. Óleo sobre lino bastidor natural avellano. 38 x 33 cm. Sobre lo cercano (Historia de un árbol), 2021. Oil on linen, natural hazelnut stretcher. 38 x 33 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715782242023-99U41GD0QMSPFYXD0C38/2.Sobre-lo-cercano-%252528Historia-deun-arbol%252529_detalle.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Detalle Sobre lo cercano (Historia de un árbol), 2021. Óleo sobre lino bastidor natural avellano. 38 x 33 cm. Detail Sobre lo cercano (Historia de un árbol), 2021. Oil on linen, natural hazelnut stretcher. 38 x 33 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715684834544-Z4B4NSK9O6E41A5YTHNA/8.javier-arce-didac.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Vista de la exposición ¡Bon Hiver! Pinturas estacionais. Fundación DIDAC, Santiago de Compostela. Exhibition view ¡Bon Hiver! Pinturas estacionais. DIDAC Foundation, Santiago de Compostela. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1706698708342-7SQ6E5SXHWJI932QQQ73/1.-On-the-close-at-hand-%28Ash-tree%29.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Sobre lo cercano (Ash tree), 2023. Óleo sobre lino, bastidor natural de avellano, 30 x 24 cm. Sobre lo cercano (Ash tree), 2023. Oil on linen, natural hazelnut stretcher, 30 x 24 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1706727860362-UPJOW5F74E8TPTRT6QCF/5.DIDAC_Javier-Arce.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Vista de la exposición ¡Bon Hiver! Pinturas estacionais. Fundación DIDAC, Santiago de Compostela. Exhibition view ¡Bon Hiver! Pinturas estacionais. DIDAC Foundation, Santiago de Compostela. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1715684969155-0W5UETK28J0SFC2X9OT5/9.javier-arce-didac.jpg Fundación DIDAC, Santiago de Compostela. ¡Bon Hiver! Sobre lo cercano (La madera de José Macedo), 2022 Óleo sobre lino, fresno natural. 35 x 35 x 8 cm. Sobre lo cercano (La madera de José Macedo), 2022 Oil on linen, natural ash stretcher. 35 x 35 x 8 cm. http://javierarce.net/historia-de-un-rbol daily 1.0 2025-09-16 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1758014621162-AES2YU37O9L1UFNNOH2W/0.javier-arce.jpg Historia de un Árbol. Jardín y tronco. Imagen parcial del lugar donde vivo. Garden and trunk. Partial image of the place where I live. Foto/Photo: Míriam Mora y Pablo López. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1758014621162-AES2YU37O9L1UFNNOH2W/0.javier-arce.jpg Historia de un Árbol. Jardín y tronco. Imagen parcial del lugar donde vivo. Garden and trunk. Partial image of the place where I live. Foto/Photo: Míriam Mora y Pablo López. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752568196377-HL1TOOO810NK5EY4MCW0/1.Sin-ti%CC%81tulo-1.jpg Historia de un Árbol. Imagen de archivo, Ciprés de Monterrey caído y cortado. Archive image, fallen and cut Monterey Cypress. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752489072015-5AO6KPNR9Y75QEK0ALID/enredosII_093DSC05694.jpg Historia de un Árbol. Cambium, 2023.Virutas de madera, yeso. 220 cm diámetro. Imagen general de la exposición Enredos II: Nuno da Luz. Centro Botín , Santander. Cambium, 2023. Wood chips, gypsum. 220 cm diameter.General view of the exhibition. Enredos II: Nuno da Luz. Centro Botín, Santander. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752571103306-8GDQ17UIBU0INF4SQV4H/5.jpg Historia de un Árbol. “Medio árbol” en mi cabaña. “Half a tree” at my cabin. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752483116942-7UEN4CVRBK80SQHK5DEZ/4.Compartimentacion-de-dan%CC%83os-disfuncion-en-un-arbol_javier-arce.jpg Historia de un Árbol. Compartimentación de daños/Disfunción en los árboles, 2025.Virutas de madera, yeso. 320 × 60 × 40 cm. Imagen general de la exposición Enredos II: Nuno da Luz. Centro Botín, Santander. Compartimentación de daños/Disfunción en los árboles, 2025.Wood chips, gypsum. 320 × 60 × 40 cm. General view of the exhibition Enredos II: Nuno da Luz. Centro Botín, Santander. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752485139077-PNRXWF65TI3KLVUKOXIH/portadalow.jpg Historia de un Árbol. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752482576745-GYYB43JH7OUQM2FRDPWS/2.Compartimentacion-de-dan%CC%83os-disfuncion-en-un-arbol_javier-arce.jpg Historia de un Árbol. Compartimentación de daños/Disfunción en los árboles, 2025.Virutas de madera, yeso. 320 × 60 × 40 cm. Imagen general de la exposición Enredos II: Nuno da Luz. Centro Botín, Santander. Compartimentación de daños/Disfunción en los árboles, 2025.Wood chips, gypsum. 320 × 60 × 40 cm. General view of the exhibition Enredos II: Nuno da Luz. Centro Botín, Santander. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752572161477-TCA4MP8YULNFAUZ1U8TP/6.jpg Historia de un Árbol. Todos los años de un bosque, 2024. Muestras dencronologicas de diferentes maderas, semillas, frutos, elementos orgánicos. 70 x 90 x 5 cm. Imagen de la exposición A Midsummer DayDream. Comisariada por Filipa Ramos. Società delle Api, Grasse 2025. Todos los años de un bosque, 2024. Dendrochronological samples of different woods, seeds, fruits, organic elements. 70 × 90 × 5 cm. Image from the exhibition A Midsummer DayDream. Curated by Filipa Ramos. Società delle Api, Grasse 2025. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752572180731-23N9B2NGMZ8QWL0F0DWT/7.jpg Historia de un Árbol. Todos los años de un bosque, 2024. Muestras dencronologicas de diferentes maderas, semillas, frutos, elementos orgánicos. 70 x 90 x 5 cm. Imagen de la exposición A Midsummer DayDream. Comisariada por Filipa Ramos. Società delle Api, Grasse 2025. Todos los años de un bosque, 2024. Dendrochronological samples of different woods, seeds, fruits, organic elements. 70 × 90 × 5 cm. Image from the exhibition A Midsummer DayDream. Curated by Filipa Ramos. Società delle Api, Grasse 2025. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752573740498-NP6Q3HDGZAOV8ZBP28NX/8.jpg Historia de un Árbol. Soy un Árbol, 2025. Vídeo 4K, 50 min. Imagen de la exposición A Midsummer DayDream. Comisariada por Filipa Ramos. Società delle Api, Grasse 2025. Soy un Árbol, 2025. 4K video, 50 min. Image from the exhibition A Midsummer DayDream. Curated by Filipa Ramos. Società delle Api, Grasse 2025. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1757661650215-ZCOK08X3RMLUSZMUKNZA/image-asset.jpeg Historia de un Árbol. Soy un Árbol, 2025. Vídeo 4K, 50 min. Imagen de la exposición A Midsummer DayDream. Comisariada por Filipa Ramos. Società delle Api, Grasse 2025. Soy un Árbol, 2025. 4K video, 50 min. Image from the exhibition A Midsummer DayDream. Curated by Filipa Ramos. Società delle Api, Grasse 2025. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752574941481-0SCUNG1FA3UUMW8SDS1A/9.jpg Historia de un Árbol. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752574958135-MHYI4DTHQOHJZXDIH7H7/10.jpg Historia de un Árbol. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752579227636-R2GCEV08KAD2GVGSTJ8X/13.javier-arce.jpg Historia de un Árbol. Horizontal Ikebana # 1, 2022. Pintura al fresco, 30 × 40 cm. Horizontal Ikebana #1, 2022. Fresco painting, 30 × 40 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752579328337-1UH5TRE6U49BD5MRLUNP/14.javier-arce.jpg Historia de un Árbol. Horizontal Ikebana #2, 2022. Pintura al fresco, palos de madera, liquen, 30 × 25 cm. Horizontal Ikebana #2, 2022. Fresco painting, wooden sticks, lichen, 30 × 25 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752480464446-NFS0KHEMF613SMRHOXA5/enredosII_093DSC05694.jpg Historia de un Árbol. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752579283390-KH9LP49ESS34BKAEEIJY/12-javier-arce.jpg Historia de un Árbol. Horizontal Ikebana #3, 2022. Pintura al fresco, corteza de madera, liquen, 30 × 24 cm. Horizontal Ikebana #3, 2022. Fresco painting, tree bark, lichen, 30 × 24 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752579254330-FRSYP8LX7A6T9G1OMCWJ/11_javier-arce.jpg Historia de un Árbol. Horizontal Ikebana #4, 2022. Pintura al fresco, musgo, 65 × 50 cm. Horizontal Ikebana #4, 2022. Fresco painting, moss, 65 × 50 cm. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752486403295-4UBDGYFK5229SIMV5DLL/P1008722.jpg Historia de un Árbol. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1752579395381-4H1R9G9WOAYVT7PCM1AH/15.javier-arce.jpg Historia de un Árbol. Horizontal Ikebana #5, 2022. Pintura al fresco, hojas de tejo, 35 × 22 cm. Horizontal Ikebana #5, 2022. Fresco painting, yew leaves, 35 × 22 cm. http://javierarce.net/galera-nueva daily 0.75 2025-11-13 https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1763033253412-5RFX6LWYGN2WN34C4B6G/al-Idrisi%2C+WeltKarte.jpg Sé lo que es cuando lo veo. Mapamundi basado en el Gran Atlas de Muhammad al-Idrisi, es una pieza central que invita a la reflexión sobre cómo percibimos y representamos el mundo. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1763033253412-5RFX6LWYGN2WN34C4B6G/al-Idrisi%2C+WeltKarte.jpg Sé lo que es cuando lo veo. Mapamundi basado en el Gran Atlas de Muhammad al-Idrisi, es una pieza central que invita a la reflexión sobre cómo percibimos y representamos el mundo. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1763033260695-UDT01829ODHX19XS8F3L/00_carta+final+Javier+Arce+Bueno_signed.jpg Sé lo que es cuando lo veo. Escultura en bronce con un bajo relieve de un mapamundi basado en el Gran Atlas de Muhammad al-Idrisi. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1763036297813-82PSAZV2KG8CV6MT96V7/boceto+peana+.jpg Sé lo que es cuando lo veo. Instalación-escultura en bronce. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1763033945303-3EKOI62L4Z28OWAAD5OT/3.montan%CC%83a%2C-trigo%2C-tigre_3.jpg Sé lo que es cuando lo veo. El montaje de la tercera obra, compuesto por una alfombra marroquí, una pantalla chroma key y un dibujo en nitrato de plata, introduce una capa adicional de simbolismo. La utilización de la luz solar en el proceso de creación del dibujo refuerza la noción de temporalidad y cambio, elementos fundamentales en la relación entre el ser humano y su entorno. Este trabajo invita a considerar cómo los elementos naturales, como la luz, intervienen en el proceso artístico y en la formación de nuestra percepción del espacio y el tiempo. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1763033949184-4BMQKDK3FENWYFF8OEWV/al-Idrisi%2C-WeltKarterelieve_low.jpg Sé lo que es cuando lo veo. Fragmento en proceso de producción, escultura colgante de hoja de plata de ley que incorpora técnicas de damasquinado. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1763033953972-BY0Z05XWGM7CDKIAVGR2/2.collage_0_detalle.jpg Sé lo que es cuando lo veo. Collages-fotografías realizadas en nitrato de plata basadas en los retratos de Antonio Cavilla, permitiendo una conexión histórica y personal que ayuda a profundizar en el contexto del proyecto. Al incorporar fotografías originales procesadas analógicamente por el Archivo Fotográfico de Barcelona, esta parte del proyecto refuerza el diálogo entre el pasado y el presente, el arte y la documentación, creando una narrativa visual que amplía la comprensión del espectador sobre el alcance y las motivaciones del trabajo. https://images.squarespace-cdn.com/content/v1/516fc5e5e4b03f8eb28092cd/1763033959097-8SZTLYFX3LU75JDUWE11/5.collage_1_detalle.jpg Sé lo que es cuando lo veo. http://javierarce.net/contact daily 0.75 2025-07-16