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Cantar de la Alma. San Juan De La Cruz
Dark flame light.
It was the summer of the year 2000. Rome looked splendid in its glorified jubilee and every evening we watched sitting from the roof of the Academy of Spain, on the heights of the Gianicolo, an ecstatic and majestic Rome at our feet. And there, like children with their legs to infinity, playing in the background "Luz de oscura llama", by the great composer Pérez Maseda staying that summer at the musician's house, was when José Cosme and I established a friendship that has lasted almost two decades.
In those days, José Cosme was invited by the Vatican as an artist to participate in the Jubilee with the exhibition "The Being of Man". But what drew me especially to the attention of that project was not so much his work of informalist dyes, but that dialogue with theology and anthropology through postmodern art, which despite its plastic turn with time, has always been kept faithful. Today that Roman melody sounds again as I write these lines, that poetic evocation to Saint John of the Cross of the light of the soul in darkness. And that serves as a preamble to introduce this new Cosme project. "Everything and nothingness"
March 15 at the Museum of Contemporary Art in Bogotá
Presentation of the works in different formats and supports that maintains a unity of con-cepts, elements and aesthetic references. In relation to the search for the "Plastic of the Spir-it", the "Everything and Nothingness", "Nihilism and Transcendence", and the vision of these opposing realities show the question of being. All this through the evocation of the senses and elements of semantics (almost semiotic) of the author (whites, dirt, oil painting, glaze, light, sound, anachronistic elements, interpellation to the viewer, evocation of the senses).
Through interpellation to the search for knowledge with the senses and the philosophical-theological reflection. The works are presented as related pieces or linked to concepts and sometimes with the use of texts or words that emerge between pure and dirty targets. All the pieces (paintings, installations, videos, sounds, photographs, etc.) are objects that want to approach the procedural aspect of the work, which have a referential and documentary func-tion of the artist's investigative work.
