b. 1958 in Buenos Aires, Argentina
b. 1958 in Buenos Aires, Argentina
Apto para todo público
Luis Felipe Noé
Curator: Andrés Waissman
05.11.20 - 09.12.20
The mirror game
So much water has passed under the bridge in recent years. It has been weighed so much and demolished so much, that it has almost been and is a caress for the protagonist of art, to be able to see from the bewilderment and contradiction, the production itself and that of those who have overcome the storms without giving in, without being carried away by the siren songs. Youth is something that, more than in beings, is seen or read in its production. What else could be said about Yuyo Noé? As Eduardo Stupia notes, meeting Yuyo regardless of his work or the artist is in itself a unique and intimate experience. I have never had that closeness, however his work revives and revitalizes the gaze of any artist who begins his work or who walks some way between the brush and technology. Yuyo understood everything and was created as an always contemporary artist. Was it created? Nobody creates himself, rather he corrects his mistakes and on that permanent correction, which is not enabled to everyone, the divine proportion of our existence is built.
There has been a lot of depth about Luis Felipe Noé, about his work and also about his inclusive projects. I would then like to take up the idea of the traveling artist. We are all a bit of a traveling artist. As a colleague Yiyú Finke told me: 'what province did Yuyo not visit!' He did not paint the places, he essentially tamed them for himself, he turned them into line and color, he gave them a new homeland in another context. When you worked on the images for your Federal series, would you know about your land itinerary? Would their riders have crossed in the fields of Santiago del Estero or Entre Ríos, would they be the same, would they defend different ideals? Yuyo crosses these lands that are theoretically one and leaves there in each hollow a refreshing, soothing wind, not only showing his work but also through his word, which still direct and colloquial contains the synthesis of experience. In Yuyo's gestures is the universal space and its engine, its present combustion. In different periods he knew how to deliver earthy tones or the clarities of the plains. The fruitful and revealing chaos is, I think, what awakens me the most emotionality. His graphic tours, his anxiety that shoots and embraces the whole.
Again and within the structure of an audacious trilogy, within the game of mirrors, expensive in Yuyo's journey and his first emotions, in the midst of an unexpected and devastating pandemic we are going to see works that could have been painted at any time. These three chapters of a collective deed involve the deliberate choice of works in tune with the code that allow us to penetrate the accurate seams of a beautifully chaotic saying.
Through what he has written and what he has painted, he reveals himself as an insolent diver in the face of the force of life. Alejandro Puente in his geometries addressed the primary and original high culture in the treatment and diffuse it. Noah incorporates the voice of the four cardinal points. Here again the visionary gesture, the sumptuousness of a sensual and ostentatious saying. It defines thus, I suppose, all that has accumulated in it. He is an artist but he is also an intellectual, perhaps he has something of a sociologist or historian. That's why I stand in your local transit. A journey that awakens the fiction of a truly federal country. It is not politics, it is the citizen who responds and acts, in the artist who responsibly faces his sayings, his doubts, his loves. It has the quality of some philosophers. Someone wrote that clarity was the courtesy of philosophers, the construction of thought in Yuyo is defined in the delivery of a totalizing and immeasurably courteous work.