Jorge Pardo: OHNE TITEL (CAN), OHNE TITEL (JON), OHNE TITEL (MECKY), OHNE TITEL (TINA), OHNE TITEL (VERO), 2009
geboren 1963 in Havanna, Kuba, lebt und arbeitet in Los Angeles. Pardo studierte in Pasadena und Chicago. In der experimentellen Verschränkung von Skulptur und Malerei, Design, Architektur, Handwerk und digital gesteuerter Produktion war er einer der ersten Künstler seiner Generation, der den Computer für seine künstlerischen Arbeiten einsetzte. Seine Arbeiten wurden u.a. in Tokyo, bei der 26. Bienal de São Paulo, im Skulpturenpark Köln, Guggenheim Museum New York sowie im Centre Georges Pompidou in Paris ausgestellt. Im KULTUM wurde Pardo in der Ausstellung „Prometheus!“ (2010) gezeigt.
born in Havana, Cuba, in 1963; lives and works in Los Angeles. Pardo studied in Pasadena and Chicago. Experimentally interconnecting sculpture and painting, design, architecture, handcraft, and digitally controlled production, he was one of the first artists of his generation who used computers for his creative work. His works were presented i.a. at the 26th Biennal de São Paulo, in the Skulpturenpark Köln, the Guggenheim Museum, New York, and the Centre Pompidou, Paris. Pardo’s works were shown in the KULTUM in the exhibition “Prometheus!“ (2010).
Jorge Pardo: UNTITLED (CAN), UNTITLED (JON), UNTITLED (MECKY), UNTITLED (TINA), UNTITLED (VERO), 2009
The heart as the center of emotions and love has inspired the history of humankind since the days of the early advanced civilizations. At the end of this arc of visual history, where humanity threatens to degenerate into data, the Cuban artist Jorge Pardo designed humanoid figures at the border of design and art which— although showing the materiality of transparent plastic discs, the material of storage media—carry a lamp in their center. They consist of cross-sections, just as if CT scans had materialized. They can easily be folded for transport but in the gallery space they are on display as full human bodies. Jorge Pardo puts the light in the center of the figures in a poetical way which they hold in their middle in place of the viewer: as an inner core, as a “little spark of the soul“ (Meister Eckhart), or simply as warmth. The permeability of the human body is captured in the transparency of that materiality but also raises questions pertaining their own creation in their formal configuration. Hence, on the one hand, the differing location of the light sources in the figures reminds of the philosophical inquiry into the seat of the human soul. On the other, the sculptures composed of different layers evoke questions pertaining to human design. The Promethean creation of man out of mud gives way to design created with computers where the flame of passion is not burning anymore but an internationally standardized energy body. Will brotherly love turn into a coded program?
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 422-423