ENLACES





…OTHER CONCEPTUAL AXES IN MY PROJECTS ARE PUBLIC ART AS A SOCIAL DEMAND, VIDEO INSTALLATION AS AN EXHIBITION MODEL TO GIVE VISIBILITY TO ALTERNATIVE AND INDEPENDENT INITIATIVES TO MEDIA GLOBALIZATION, TRADITIONS AND HANDICRAFTS EXTINGUISHED WITH THE PASSAGE OF THE TIME, CULTURAL IDENTITIES ETC…

My work lies at the intersection of the social sciences, art and the media. Some constants of my research are serial work and networking both grant me flexibility and the opportunity to adapt my ideas to concrete cases and specific space-time conditions, depending on the project.

 

In my beginnings, I was interested in photography and super-8 cinema, influenced by my grandfather Pedro, a republican who suffered the vicissitudes of the Spanish Civil War. I spent part of my childhood in Benigembla, a small town in the Alta Marina region of Alicante where my maternal grandparents lived. There I was able to experience the fear of repression that people in the area felt under the dictatorship, a fear combined with the hope for change that the tourist boom promised, announced through the media with the 70s slogan “Spain is Diferent”. The imprint on my memory of all those people with lifestyles that bordered on fear, contention, repression and memories of the Spanish Civil War lived in the first person, became an obsession always present in my work, which would lead me to seek and find answers through art, based on the recovery of the memories of those people who, directly or indirectly, were victims of that congested fury.

Other conceptual axes in my projects are public art as a social demand, video installation as an exhibition model to give visibility to alternative and independent initiatives to media globalization, traditions and handicrafts extinguished with the passage of the time, cultural identities etc. Since 1990, my personal career has revolved around the use of audiovisual media as artistic tools and as means to articulate sculptural space. In Hal Foster’s words, it is the development of an entire artistic strategy that tends towards reality, since this dimension was not shown before the rise of contemporary art. And in the words of Jacques Lacan, the real is part of the structure of the psyche, together with the symbolic and the imaginary. Places of memory interest me and in a certain sense, the combat against pernicious memory, that which is trivialized or dismembered.

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