On Jorge Wellesley's poetic

LOSING THE ENTHUSIASM FOR WRITING AFTER HAVING WRITTEN

By: Elvia Rosa Castro.

Warning: Maybe what you read below is full of emptiness, even though accurate words are supposed to be chosen.

The truth? These are the five Jews that have influenced the most on the way of conceiving the world and its changes:

Moses said: "Law is ALL…"

Jesus said: "Love is ALL"

Marx said:" Capital is ALL"

Freud said:" Sex is ALL"

Then Einstein came and sent to hell the theories when said:

"ALL is relative"

The work of Jorge Wellesley-B.M is susceptible of a multiple viewing. If we refer to art-design relation, his works would be of mandatory reference. If we talk about image- text communion in a work of art, we would be pressured by its absolute sense.  And if we settle the generation scores or simply settle a period, his name would strike the specialist or critic in our case.

Trying to relate it to the most orthodox conceptualism, even though one day it is necessary, would be a too ordinary position. Hence, I think that beginning by El origen de la tragedia (The origin of tragedy) is the most delightful pretext, but the least evident.

I am almost certain that for Nietzsche, tragedy was an illustrated excuse to reveal the western thinking crisis and its forms of representation, or tragedy itself. All critique to Apollonian canon becomes, ipso facto, a critique to the representation issue itself, to binarism, to reality unplugging, to that via language disorder that every scientist in the XIX century would call aphasia, term reintroduced by  logical positivism.

It is about an always sublimate chaos and therefore hidden, for we do not notice such disjunction..., luckily.

Some thinkers, such as the Cuban Alexis Jardines, place this crisis in the exact origin of the self conscience, or in the split of it. From the time the self stops being reality to become part of it (objective/ subjective), and also starts to appoint it in a conventional and arbitrary way, appears what Jorge calls abstraction and I, androgyny and tropological expression.

The same concerns Nietzsche, Jardines and the other theoreticians had, mainly in the XIX century, are the ones Jorge shows us. This is a subject that also appears in the works of other young artists from the same graduation of Wellesley´s, such as Hander Lara, Irving Vera y Yornel Martinez.

Maybe Emmanuel Kant has an answer for these digressions. According to him, the subject has a hereditary patrimonial situation or knowledge on certain object or reality. This heritage goes into a temporary contradiction with the object itself, and that is why the concept is an entity in process and not static. At this point chaos, rupture and disorder show up, then apparent normality return. Never forget Lezama´s wisdom when said: "defining is ashing ".

But if other young artists´ poetics emerge from a direct origin that could be literature, Wiggenstein or Zen Buddhism mainly, Wellesley´s comes from a basically autobiographic source: repetition and oblivion of words, and also noticing this indifference towards a term relies on the term´s emptiness, in its insignificance and its limitation to mere spelling, to mere stroke.

Then the basically indispensable readings would be necessary to consider- Wiggenstein and his ghosts-, plenty of philosophy. However, his works are not based on a verbal supply, different from many other artists, words and spellings construct his work, like in Bruce Nauma´s neons (One hundred live and die, 1984) or in Luis Gomez´s Los hombres que nunca existieron (Men that never existed). This operation itself demands an association with design, even it is not related to an easy purpose, which is not Wellesley´s case, who does appeal to the coldness and formal means that design provides to emphasize even more his disjunction. This discipline promiscuity, showed above all, in TRUTH realidad y lenguaje (TRUTH reality and language), also carries a super pop look that approaches to the motto on canvas of Jose Hidalgo´s from Matanzas: Socialismo o Muerte (Socialism or Death).

If I had to do my curator work on a topic that would approach us to what I have been written about here, deservedly Alexander Beaton from Guantanamo would be summon, who designs books covers with such ironic titles as "El cinismo es mal que tiene curaduria". I certainly would invite Hidalgo, Osmany Torres, and together with Wellesley, I would convince Ezequiel to show some of his "sandpapers". If the space can widen, I would count on that crop of paradoxically illustrated and school orphans: Yornel, Irving, Hander.

An almost unknown bunch but quite artistically tough.