Narcisismo
Video
de Chenco*
Lectura
de José Díaz- Díaz, Director de La Caverna, escuela de escritura creativa.
El eje temático de este video es manifiesto y
recurrente en una mirada panorámica
sobre la obra de Chenco. El punto de inflexión de su fijación temática no es
otra que la pulsión sexual entendida como motor del ciclo vida-muerte, o «eros
y tanatos» como puntualizara Freud. Y, en el centro de toda esta sustancia
vital, el falo. El falo como rey y la vagina como reina y muerte. Pero
desenmascarando todo ese montaje ideológico judeo-cristiano está el priapismo
sostenido a la fuerza por una palanca mecánica. (Ver pintura número cinco).
Esta pintura constituye la crítica vertical a un falso modo de asumir la
relación macho-hembra.
En 1965, el filósofo francés Jacques Derrida acuñó el
término falogocentrismo, a partir de falocentrismo y logocentrismo, para
designar la primacía atribuida por la filosofía occidental al logos platónico y
a la simbólica del falo. En este sentido, la fijación temática «chenquiana» se
asienta sobre estos pilares reales de nuestro pensamiento psico-filosófico contemporáneo.
Pero,
¿qué tiene que ver todo esto con la actitud narcisista? Pue bien, el artista, es
proclive al narcisismo por antonomasia sobre todos los demás mortales ya que
emerge con la fuerza de su individualidad para poder desarrollar su obra creativa.
Es el rey del self. Su creación deviene gracias al engrandecimiento de su yo, a
la pasión de su «narciso» por recrearse o al menos crear una imagen autorreferente
perenne (la obra de arte) que lo sustituye y lo prolonga gracias a un lenguaje
fuera de su propia identidad. El artista es a fuerza narcisista
en la medida que se apoya en su yo para arrebatar del vacío su creación, y el self es el fondo de donde surge a través
de la mente inconsciente el producto creado que es el arte.
Chenco, en la medida que es un artista contemporáneo es desde su base, estricta
e inevitablemente narcisista. Pero un narcisismo que revela una imagen no bella
de sí mismo sino una imagen total del ser humano en su envés. Refleja la parte oscura y dolorosa de
su condición.
Los
antecedentes de la cultura del narcisismo nos conducen a retomar y entender el mito de "Narciso" no como la cantera de la expresión creativa
sino como el enamoramiento de sí mismo,
atracción sexual hacia el propio cuerpo o la propia persona. Comprende
conceptos como egolatría, autoexaltación, vanidad, engreimiento, deseo de ser
amado y admirado. Según Freud, es la orientación de la libido hacia
el yo.”. Siendo extraída la
pintura de Chenco del fondo de su subconsciente y puntualmente de su etapa
infantil, supone un narcisismo infantil no superado que, al agregarle en su
etapa de adultez su afilada arma crítica proveniente de su sólido bagaje
cultural, deviene en una imagen suya y de la humanidad no hermosa ni banal sino
terriblemente cruda, instintiva, animal tal como lo es nuestra insoslayable condición
biológica.
Sin embargo, existen críticas
a la superficialidad de los
comportamientos narcisistas, pero en
Chenco no debe verse como una vanidad vacua y superflua. La imagen de Chenco se
inmola en el patetismo de los temas que escoge para hacerlos objeto de sus
pinturas. Piquis Horney ha descrito el narcisismo como "una inflación
psíquica". El narcisismo implicaría siempre enajenación del yo y
de los demás, la imagen
social, esa «inflación» del Yo que hoy prolifera y que en otras épocas se
habría considerado falta de elegancia y de pudor, o incluso sería entendida
como un tipo de patología mental, la «megalomanía». La fotografía del selfie se
ha entronado como grito social de la autoexposición. En un ambiente altamente
competitivo, donde priman la eficacia y la performance visible de cada uno,
podría pensarse que la autoexposición se ha vuelto hasta necesaria: hay que
saber «venderse», posicionar al Yo como una marca, cultivar constantemente la
propia imagen, conquistar la visibilidad para ser alguien. Esta es la cultura de la individuación,
de la autocomplacencia, de la masturbación como máxima expresión del self.
De otra parte, La exhibición de lo subjetivo no es patrimonio exclusivo
de los medios electrónicos y virtuales. En los años 60, figuras como Salvador
Dalí, que se movían en el mundo mediático como pez en el agua, hacían de sí
mismos una obra tanto o más valiosa que las que cotizaban en el mercado del
arte. "Artistas ícono que supieron convertir sus rostros y nombres en
verdaderos logotipos.
El narciso de Chenco lo lleva a fundar la
esencia de su poder en los símbolos del pene, pinturas #1-2-3), y del pene
siempre erecto, (priapismo, pintura #5); los esfínteres y el control de los
esfínteres: #7). La criatura andrógina (#4) está latente en el símbolo del sexo
que no es machista en la medida que el mismo cuerpo comparte las dos fuerzas.
El arte es un método para
recrear la belleza, sea esta sublime o miserable; es una exposición para
expandir el conocimiento, para reorganizarlo, y eso abarca las cosas racionales
y las cosas no racionales, las cosas conscientes y las cosas inconscientes. La
intuición no es un mecanismo oscurantista, místico, sino que es una habilidad
que se puede entrenar y Chenco es un intuitor extraordinario
en ese sentido. El artista es el que tiene la intuición disciplinada y por lo
tanto tiene acceso a zonas que quien no la ha desarrollado no posee. En ese
sentido, interviene en un campo que no es tocado por otras disciplinas y que
ayuda a que el público en general, en un valiente gesto narcisista acompañe al
pintor a verse reflejado en el lado oscuro de su condición humana.
*Pronto en YouTube
Reading from Jose Diaz Diaz, Director of The Cave, school of creative writing.
The theme of this video is clear and recurring in a panoramic look at the work of Chenco. The turning point of its thematic setting is none other than the sexual instinct understood as life-death cycle engine, or "Eros and Thanatos" as Freud punctuate. And in the middle of all this vital substance, the phallus. The phallus as king and the vagina as queen and death. But exposing all that ideological Judeo-Christian is the priapism held by force by a mechanical lever. (See painting number five). This painting is the vertical criticism of a false way of taking the male-female relationship.
In 1965, the French philosopher Jacques Derrida coined the term phallogocentrism, from phallocentrism and logocentrism, to designate the primacy accorded to Western Philosophy to the Platonic logos and the symbolic of phallus. In this sense, the theme setting "chenquiana" is based on these real pillars of our contemporary psycho-philosophical thought.
But what has all this to do with the narcissistic attitude? Well, the artist is prone to narcissism par excellence above all other mortals because he emerges with the force of his individuality to develop his creative work. He is the king of self. His creation becomes thanks to the enhancement of self, to the passion of his "Narcissus" by recreating or at least create a self-referential perennial image (artwork) that replaces him and extends out through a language outside his own identity. The artist is by force a narcissist as it relies on itself to snatch from the vacuum his creation, and the self is the background from which emerges through the unconscious mind that is the created product of art. Chenco, as it is a contemporary artist is from its base, strict and inevitably narcissistic. But narcissism that reveals not a beautiful image of himself but a full picture of the human being in its underside. It reflects the dark and painful part of his condition.
The antecedents of the culture of narcissism lead us to rethink and understand the myth of "Narcissus" not as the quarry of creative expression but as self-infatuation, sexual attraction to the own body or the same individual. It includes concepts such as egotism, self-exaltation, vanity, conceit, and desire to be loved and admired. According to Freud, it is the orientation of the libido to the self. ". Being drawn Chenco’s paint from the background of his subconscious and promptly from an stage in its infancy, it suppose an infantile narcissism that failed to overcome and to add to their stage of adulthood his sharp critical weapon from its strong cultural background, becomes an image of himself and of humanity, not beautiful nor terribly banal but raw, instinctive, animal as is our inescapable biological condition.
However, there are criticisms of the superficiality of narcissistic behaviors, but in Chenco should not be seen as an empty and superfluous vanity. Chenco’s image is sacrificed in the pathos of the themes he chooses to make them the subject of his paintings. Piquis Horney described narcissism as "a psychic inflation." Narcissism imply always alienation of self and others, the social image, that "inflation" of the self that today proliferates and that in other times would have been considered lack of elegance and modesty, or even would be understood as a type of mental illness, the "megalomania". The selfie photograph has been enthroned as social cry of self-exposure. In a highly competitive environment, where efficiency is essential and the performance visible of each one. It might think that auto exposure has become so necessary and should therefore know how to sell themselves, position the I as a brand, constantly cultivate the own image, and to conquer visibility to be someone. This is the culture of individuation, of complacency, of masturbation as the ultimate expression of the self.
Furthermore, the display of the subjective is not exclusive to electronic and virtual media. In the 60s, figures such as Salvador Dali, who moved in the media world like a fish in water, made of themselves an equally or more valuable work than those listed on the art market. "Artists’ icon who knew how to turn their faces and names in real logos.
Chenco’s daffodil leads him to found the essence of his power in the symbols of the penis, paintings # 1-2-3), and always erect penis (priapism, painting # 5); the sphincter and the control of sphincters # 7). The androgynous creature (# 4) is latent in the sex symbol that is not macho to the extent that the same body shares two forces.
Art is a way to recreate the beauty, be it sublime or miserable; is an exhibition to expand knowledge, to reorganize, and that includes rational and non-rational things, conscious and unconscious things. The intuition is not an obscurantist mechanism, mystical, but it is a skill that can be trained and Chenco is an extraordinary intuitor in that regard. The artist is the one with the intuition disciplined and therefore has access to areas that who has not developed does not possess. In that sense, he intervenes in a field that is not touched by other disciplines and one that helps the general public in a brave narcissistic gesture that accompany the painter to see himself reflected on the dark side of his human condition.
Narcissism
Chenco’s Video
Chenco’s Video
Reading from Jose Diaz Diaz, Director of The Cave, school of creative writing.
Translated by Maria
Gabriela Madrid
The theme of this video is clear and recurring in a panoramic look at the work of Chenco. The turning point of its thematic setting is none other than the sexual instinct understood as life-death cycle engine, or "Eros and Thanatos" as Freud punctuate. And in the middle of all this vital substance, the phallus. The phallus as king and the vagina as queen and death. But exposing all that ideological Judeo-Christian is the priapism held by force by a mechanical lever. (See painting number five). This painting is the vertical criticism of a false way of taking the male-female relationship.
In 1965, the French philosopher Jacques Derrida coined the term phallogocentrism, from phallocentrism and logocentrism, to designate the primacy accorded to Western Philosophy to the Platonic logos and the symbolic of phallus. In this sense, the theme setting "chenquiana" is based on these real pillars of our contemporary psycho-philosophical thought.
But what has all this to do with the narcissistic attitude? Well, the artist is prone to narcissism par excellence above all other mortals because he emerges with the force of his individuality to develop his creative work. He is the king of self. His creation becomes thanks to the enhancement of self, to the passion of his "Narcissus" by recreating or at least create a self-referential perennial image (artwork) that replaces him and extends out through a language outside his own identity. The artist is by force a narcissist as it relies on itself to snatch from the vacuum his creation, and the self is the background from which emerges through the unconscious mind that is the created product of art. Chenco, as it is a contemporary artist is from its base, strict and inevitably narcissistic. But narcissism that reveals not a beautiful image of himself but a full picture of the human being in its underside. It reflects the dark and painful part of his condition.
The antecedents of the culture of narcissism lead us to rethink and understand the myth of "Narcissus" not as the quarry of creative expression but as self-infatuation, sexual attraction to the own body or the same individual. It includes concepts such as egotism, self-exaltation, vanity, conceit, and desire to be loved and admired. According to Freud, it is the orientation of the libido to the self. ". Being drawn Chenco’s paint from the background of his subconscious and promptly from an stage in its infancy, it suppose an infantile narcissism that failed to overcome and to add to their stage of adulthood his sharp critical weapon from its strong cultural background, becomes an image of himself and of humanity, not beautiful nor terribly banal but raw, instinctive, animal as is our inescapable biological condition.
However, there are criticisms of the superficiality of narcissistic behaviors, but in Chenco should not be seen as an empty and superfluous vanity. Chenco’s image is sacrificed in the pathos of the themes he chooses to make them the subject of his paintings. Piquis Horney described narcissism as "a psychic inflation." Narcissism imply always alienation of self and others, the social image, that "inflation" of the self that today proliferates and that in other times would have been considered lack of elegance and modesty, or even would be understood as a type of mental illness, the "megalomania". The selfie photograph has been enthroned as social cry of self-exposure. In a highly competitive environment, where efficiency is essential and the performance visible of each one. It might think that auto exposure has become so necessary and should therefore know how to sell themselves, position the I as a brand, constantly cultivate the own image, and to conquer visibility to be someone. This is the culture of individuation, of complacency, of masturbation as the ultimate expression of the self.
Furthermore, the display of the subjective is not exclusive to electronic and virtual media. In the 60s, figures such as Salvador Dali, who moved in the media world like a fish in water, made of themselves an equally or more valuable work than those listed on the art market. "Artists’ icon who knew how to turn their faces and names in real logos.
Chenco’s daffodil leads him to found the essence of his power in the symbols of the penis, paintings # 1-2-3), and always erect penis (priapism, painting # 5); the sphincter and the control of sphincters # 7). The androgynous creature (# 4) is latent in the sex symbol that is not macho to the extent that the same body shares two forces.
Art is a way to recreate the beauty, be it sublime or miserable; is an exhibition to expand knowledge, to reorganize, and that includes rational and non-rational things, conscious and unconscious things. The intuition is not an obscurantist mechanism, mystical, but it is a skill that can be trained and Chenco is an extraordinary intuitor in that regard. The artist is the one with the intuition disciplined and therefore has access to areas that who has not developed does not possess. In that sense, he intervenes in a field that is not touched by other disciplines and one that helps the general public in a brave narcissistic gesture that accompany the painter to see himself reflected on the dark side of his human condition.
