' Archaeology Of The End
Of The World '
Josefina Sierra Guzman
Archaeology
Of The End
Of The World
" Archeology of today’s humans , like a record of ourselves ,
of everything once built , invented , feared , and most loved , of expectancy , what’s possible ,
the impossible , and everything we once wanted to be. "
Curated by Maximiliano Aduki at The Company Studios , Apr - May 2025
Quotidian can be a deceitful word, sometimes it smacks of fraud. The pacing of the quotidian surrounds the living spaces of action in its most sensible way, operating above reason. These potential actions of art as an expression can then be found, overlapped under the intervention of the private self; the small private affairs, personal, subjective, that infringe upon fate in any discipline considered sensible. There is one job that focuses on freeing these obstacles, freeing the smoothing homogeneity of the subject and the objects.
I think that one of the most captivating aspects in Josefina’s Sierra Guzman work is that, setting aside some of the levels of art and its representations, she inverts the subjective quotidian language to the sheer material language of objects.Tacitly, the linguistic structure and aesthetic of the quotidian is injected in small doses attached with cynicism and banality (dinner leftovers, a ticket, a closed word, clay and water, etcetera). Nothing is left to chance, and it's in this spatial trajectory (like an object thrown into the void) that it travels along this sort of transcendental empiricism (without subject nor self), evidencing a system of signs and symbols, both modern and primitive, that go towards one place and returns to another. The quotidian never limits itself to a signifier, to a feeling, to the anecdote of creation or at least, this is the game it sets, a trap to the senses.
Returning to clay and water is taking over another body and stripping it away from any type of lines of significance, it’s twice as risky. In this subtraction attempt, Josefina displays a series of simple and direct objects that commend an emotional state to each object through one word. She employs an archeology of occurrence and space; this mechanism opens up possibilities to new ways of envisaging sensibility, where visual experience doesn’t mean getting involved with a private experience, an experience without self. This, as it is, may sound paradoxical, but this construction of fate through objects, is at least free from any interpretation, we don’t have to engage in other levels of thought, we are facing a materiality that doesn’t seek determinisms nor trascendental sanctions. It is a materiality that moves sensitivity towards other directions, cynic and evident, honest and complete. It is the fastest way to achieve perception without making any concessions, it’s the painful bliss of contemplating objects, a firm entry to the suprasensible world of objects and matter.
At
The Company Studios
Mar - Apr 2022
At
The Company
Studios
Mar - Apr 2022
We Transformed a Long - Abandoned Factory Basement,
Unused for Over 20 Years, Into a Lively Creative Hub.
' Archaeology Of The End Of The World ' Featured |
Josefina Sierra Guzman (Argentina)
Artworks' Display and Exhibition's Set Up
Ruggero Griffini | Maximiliano Aduki
TXT
Marcos Rojas
Photo Documentation
Nicolau Dos Santos | Stephanie Blanchard
Scenography
Alessandro Romano
Executive Production
Maximiliano Aduki
" Archeology of today’s humans ,
like a record of ourselves , of everything once built , invented , feared , and most loved , of expectancy , what’s possible , the impossible ,
and everything we once wanted to be. "
Josefina Sierra Guzmán Solo Show
Curated by Maximiliano Aduki
at The Company Studios , Apr - May 2025