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The aporia of moving forward
Mónica Nuñez Luis
Over the last decade, Marco Montiel-Soto has devoted a lot of time to accumulating experiences, ideas and emotions. Objects, images and sounds have inspired him to build a universe of direct, simple narrative, sometimes poetic and even critical, filled with stories that put the imagination to work to a greater or lesser extent.
Montiel-Soto’s ongoing curiosity has led him to explore ideas and materials that bear an anecdotal discursiveness and where aestheticism and formalism often run through. That curiosity became the drive to collect discarded items as if they were treasures. As a result, as the treasure-trove
grows so has the artistic production which over time, has had to be expanded to include larger formats. Although photography and video have dominated, Montiel-Soto’s sculptural, architectural and more recently, sound installations have broadened the discursive potential of his work. Moreover, the semantic importance of each piece has increased by his choice of suitable mediums.
Montiel-Soto has worked on many themes but he is most concerned with the building of individual and collective memory - although fragile - , as well as the emotions of everyday life or the approach to internal universes. His remarks about his own identity and the search for empathy in the spectator from the emotional point of view are repeatedly the issues that have been at the core of many of the artist’s works. In these works, ideas and expressions from both the past and present blend together and show a deeper understanding of the conceptual and expressive implications when using sound.
“Every good start begins at the end.” The title of the exhibition is a clear description of the moment that Montiel-Soto is living. The selected pieces represent this years of work as well as the concerns surrounding its current production. For many, beginning at the end is a way to move forward because it is a way of knowing where one wants to go. In this framework, the artist plays with the expression The End through a photographic composition that displays the final movie frame in several different languages. There are many different and untold ways to end stories and even though they all evidently lead to a conclusion, one is nevertheless enticed to look forward to the next film where another story will be told. The End, like the name of the exhibition, symbolizes the transposition and transition of the past and the future of Montiel-Soto’s experimentations by way of the inevitable but very ad hoc aporia that implies; “Every good start begins at the end.”
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