“The citizen turns into a consumer and the urban life into a real estate project”.
I believe that this quote by Jordi Borja captures to the perfection the essence of STAND BY – Anonymous spaces – where Agustín Serisuelo (Betxi, 1981) shows how a mirror will do, the urban landscape that we see nowadays in our environment.
Unfortunately this landscape has been created by the so called ‘city crisis’ which in Jordi Borja own words: “It is the result of an economic and social model that is observed in the sterilized way of understanding and doing the city”. A crisis that we see perfectly expressed in these art works where spaces are trying to be constructed – that want to be or would like to be -, but that are truncated, interrupted and postpone and that from the first moment are dragged to the forgot and abandoned. That’s why Serisuelo works on the ‘new’ space which means, newly constructed and ready to use; the ‘old’ is reserved for dessert and relegated places; and for last the space in ‘process’ which is the most abundant today in our territory. In this occasion, it raises its vision opening closed spaces to make them open for the public as we can observe in his series “Alzado Interior” where the geometric point of reference is lost. This time the point of reference will be the own artist that moves and leaves a space, a centre directed and reserved to the spectator as a place for thinking. Together with this we find “Torres”, a white and pristine sequence where you can appreciate broken houses with sea views in construction. These towers emulate the soulless views of abandoned flats in construction; as well as the concept of “Urbanization”, where he glimpses the proliferation of this concept of housing simulating a perfect window that dominates in the real estate business.
It could be argued that his sculpture is a result of the emptying, framed through wooden structures that he covers in black or white playing once again with the three dimensionality and the profundity. This way he discovers dualities and contrasts that are reflected perfectly combined with his photomontage (vertical/horizontal, interior/exterior, empty/full). In some way Serisuelo establishes an emotional relation with the environment that surrounds him and brings closer a close reality that has been erased from our memory; in the same way that he emphasizes our conscience and our capacity to intervene over this anonymous spaces that are ready to be rescued.
Irene Gras Cruz.