Begoña Torres González
Rosell Meseguer. A history on dematerialization
Rosell Meseguer surprises us with this new exhibition, displayed in the space of La Fragua-Tabacalera, with a theme -the invisibility-, a concept related to others ideas that have inspired her last projects, such as UFO ARCHIVE (2007-2015). This implies a certain awareness of work that is likely to be organically presented, as a whole, in which her work tries to link together the erratic and the idée (fixe idea), the acceptance of contingencies and a rigour in the method.
Its main goal is the understanding of the role of visual representation in contemporary culture, as well as the development of our knowledge about the world in which we live: how are they able to impact in our imagination, how our personal memory is organized, how they are used for historical facts representation -our past, our future and our most intimate life. In fact how, they are part of our common life.
The assembly strength belongs to the nature of the documents, but also in the setting of a discursive accompaniment, and mainly in the pieces and installations displayed through space: reliefs or free-standing sculptures, objects, mirrors, picture frames, which are arranged in a room as minimalist, fragile, delicate in dialogue with the historical avant-gardes. Through them, Rosell underscores the fragility, variability and multiplicity of all artistic creation and its message, which is always held on weak changing and continuous balance structures.
Alejandro Alonso Díaz
The Furthest Visible Point
A dead star is ten million times brighter than the Sun: The star, documented by the nuclear telescopic of NASA, is located at the centre of the Messier 82 galaxy, which is about 12 million light-years away from the Milky Way1 (1).
In confronting the universe’s paradoxes and its various spatial and temporal realities, our notions of perception, matter and reality expand towards an endless range of different directions. Some of the stars we can clearly see at night are actually shining with the light of the past, a nonexistent energy that to our eyes is yet real, visible. The phenomenological gap between their internal realities and our own reality shows the ways in which the nonexistent becomes visible while the invisible remains there, patent, real.
Taking the paradox between perception and reality as point of departure, Rosell Meseguer explores how invisibility coexists with the reality of the tangential. For the artist, ''what is not, it is not and what it is, it is'' is not a valid position. Sometimes propositions are interchanged, altered, mirrored, and our only possible perception leaves us in a tight scenario. The invisible surrounds us, attracts us and calls us in a silence to which we often respond through speculation.
(1) CNN México: http://mexico.cnn.com/tecnologia/2014/10/12/una-estrella-muerta-es-10-millones-de-l
Justo Pastor Mellado
Santiago de Chile, septiembre 2015.
The Production Of Cover-Up
In an earlier art project, UFO Archive (2007-2015), Rosell Meseguer delves into the thought processes that are part of the world of espionage -a built collection, photographs, newspaper clippings, materials and printed documents. All this gave birth to a magnificent catalogue in whose interior, the publication which gives account of the exhibition, contains a red caps booklet, of a smaller size, embedded into the publication. It is an issue inside the book, which would pass as an unidentified publishing object.
However, it is an infiltrated one which reveals its importance as the carrier of a few key messages, for whose concealment, it is convenient to display such as they are -in this saturation they would hide better what it is brought by them. It is Poe´s letter strategy, on one stolen letter, so the letter would not be visible. However, it is only one aspect of the problem, because the visibility of the real object will be always delocalized through the arrangement of a few elements of dubious authenticity.