About

TURBOCUBISM  in the age of global Turbocapitalism.

Y para asegurar mi vida me enamore de la muerte
y tuve tan buena suerte que actualmente es mi querida
y ahora me siento más fuerte porque la tengo parida
Pepe Ramos. Mexican Musician

And to secure my life I fell in love with death
I was so lucky that she is currently my mistress
now I feel stronger because I have her birthed
Pepe Ramos. Mexican Musician

One speaks of the death of art, of the death of painting, of the death of modernism, what is left?
only the vestiges.
Modern art has become obsolete, corpses, a story long forgotten, archeological ruins of an
incomprehensible past for a new art. It has lost its provocative connotations, and has passed to
decorate the offices of big corporations and parks. If modern art is dead, one must show it dead in
order to vindicate it as art, and value its formal possibilities, showing it terrible and eliminating its
decorative connotations.
My work emerges from the vestiges of modern art which I recontextualize and put in a new context,
within the present reality of contemporary Mexico, the violence of form: the remains of human
carnage mingled with the remains of modern art. This way I update it, transform it to a brutal state,
take advantage of its formal possibilities to force form, and in this manner also speak of a modern
massacre.
My work is interested in finding new formal possibilities, so I have focused on modern art, due to
the fact that one of its major preoccupations has been the study of form. At the same time, I have
developed an interest in Topology, a major area of mathematics concerned with properties that are
preserved under continuous deformations of objects, such as deformations that involve stretching, but not
tearing or gluing. In this way I can manipulate bodies without them losing their true nature, and the
number of elements that characterize them.
All of this said, I have named my work Turbocubism.
Debemos aprender a recordar el futuro.
We must learn to remember the future.
Jorge Castellanos
25.12.2011
Munich

TURBOKUBISMUS

Turbokubismus cannot be exactly defined now since it is still in a gestation
process. I can only give some approaches:
Turbokubismus is an antihistoric position from contemporary art history.
It is the “Doppelgänger” from historic Cubism that has travelled like “Terminator”
from the past to the future in order to protect the Picasso phantom that has come
back.
It is the nostalgic residue from creating the first Turbo avant-garde in the XXI
Century, knowing that the avant-garde idea is a false problem in art, but it is a
generator of energy that motivates art to surge.
It is an Accelerated Cubism.
It is a movement with no place of origin because it does not exist yet, and if it
exists, it will be generated in different places at the same time in a parallel way.
It is a joke that can become a serious matter or a serious matter that can be taken as
a joke. It depends on each spectator and artist with disposition to participate in it.

It is a form of Cubism that rebirths through the rediscovery of its bastard son
Vorticism (the only English avant-garde in the beginnings of the XX Century),
which comes from the idea of the spiral movement of a vortex which in turn
rebirths as Turbine to create Turbokubismus.

It is the practical residual idea from Cubism utilized in the First World War as a
military strategy to invent camouflage and “Dazzle ships”, which come back to be
valued by the new art historians as the art of deceit, or the history of art as a deceit
or camouflage.

Cubism was interested in the idea of the Fourth Dimension while Turbokubismus is
interested in the Virtual Dimensions of the Internet era.

Turbokubismus has more relation with science fiction or art fiction, than with the
creation of a formal style.

Turbokubismus has as much relation with the Graffiti Wildstyle and the
underground culture, as with the Great tradition of European painting.

Turbokubismus is nontemporal because it does not differentiate between old and
new and does not reject anything that could be used. It is made, as I said before,
from residuals.

Some artists are already creating Turbocubist art but do not know it yet.

Munich, 30 July 2010

Jorge Castellanos

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