BERNARDÍ ROIG - The Aphonic Poets and the Silence of Actaeon

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BERNARDÍ ROIG - The Aphonic Poets and the Silence of Actaeon
 

Bernardí Roig develops a body of work that rises up against amnesia, defending memory as a

part of a contemplative space. Walter Benjamin analysed the illusory quality of the trauerspiel

(baroque drama) which presents catastrophe to the eyes of the melancholic as if a mirror

were trying to refect an image in darkness. The presence of the baroque, so telling for this

artist, is a hallucination: an allegory. We could well view Bernardí Roig’s work as a series of

fragmentary stories in which the point of departure is memory seen “in the light of desire”.

For Bernardí Roig, white is the space of dreams, the only colour of the instant: “All Goethe’s

Faust can be reduced to one single sentence: ‘Time stand still! You are so beautiful …’ Only

then does one understand that the moment is white. This brooks no doubt. And in all

certainty it is white, because light, once stilled, coagulates. We might then say that the gaze

has been submerged in a glass of milk, and in this glass of milk we recognise the annunciation

of a form of knowledge where the signifeds have still not copulated.” Roig’s work can be

understood as an immersion in the sublime dimension of the mystery of the gaze or as the

materialisation of unhappiness or emptiness. But this whiteness is nothing but the deceptive

appearance of background darkness. Over the last twenty years or so, Roig has addressed the

mythological passage of the fatal encounter between Actaeon and Diana and the

transformation of the former into a stag (a true “hunter hunted” that cannot tell what his

eyes have seen as his body is cruelly torn to pieces by his own hounds), believing it to be key

for his obsessive theory of vision on the brink of blindness. As Fernando Castro tells us,

“Bernardí Roig’s work might be no more than a deadly rompecabezas, a jigsaw puzzle or

literally ‘head-breaker’, the obsessive sediment of someone entrenched in a head faced with a

culture of embalmed moments.
 

The Aphonic Poets and the Silence of Actaeon is the third exhibition by Bernardi Roig">Bernardi Roig at our

space in Vienna. This project showcases a series of works (drawings, videos, sculptures,

paintings and photos) made over recent years that combine and intertwine his fascination

with the representation of the face - the series POETS - and the gaze of Actaeon, that

transgressive gaze that challenges the prohibition of the divine and insists on seeing what is

outside the possibility of sight. These images speak to us of non-communication, of the failure

of the word and the aphony of poetry; of a distrust of representation and language. These

works have the qualities of a mirror, they trap and deform our image and return to us a

perforated face without sureties trapped between silence and amnesia.



MAM Mario Mauroner Contemporary Art Vienna
Weihburggasse 26
1010 Wien
Austria
Array
http://www.galerie-mam.com

Opening hours

Selection of further exhibitions in: Austria

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05.06.2019 - 13.09.2020
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05.06.2019 - 16.08.2020
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02.10.2020 - 10.01.2021
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16.10.2020 - 10.01.2021
Lentos Kunstmuseum Linz
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30.04.2020 - 02.05.2020
Kunsthaus Graz - Universalmuseum Joanneum
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Graz

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BERNARDÍ ROIG - The Aphonic Poets and the Silence of Actaeon MAM Mario Mauroner Contemporary Art Vienna Main address: MAM Mario Mauroner Contemporary Art Vienna Weihburggasse 26 1010 Wien, Austria MAM Mario Mauroner Contemporary Art Vienna Weihburggasse 26 1010 Wien, Austria

BERNARDÍ ROIG - The Aphonic Poets and the Silence of Actaeon
 

Bernardí Roig develops a body of work that rises up against amnesia, defending memory as a

part of a contemplative space. Walter Benjamin analysed the illusory quality of the trauerspiel

(baroque drama) which presents catastrophe to the eyes of the melancholic as if a mirror

were trying to refect an image in darkness. The presence of the baroque, so telling for this

artist, is a hallucination: an allegory. We could well view Bernardí Roig’s work as a series of

fragmentary stories in which the point of departure is memory seen “in the light of desire”.

For Bernardí Roig, white is the space of dreams, the only colour of the instant: “All Goethe’s

Faust can be reduced to one single sentence: ‘Time stand still! You are so beautiful …’ Only

then does one understand that the moment is white. This brooks no doubt. And in all

certainty it is white, because light, once stilled, coagulates. We might then say that the gaze

has been submerged in a glass of milk, and in this glass of milk we recognise the annunciation

of a form of knowledge where the signifeds have still not copulated.” Roig’s work can be

understood as an immersion in the sublime dimension of the mystery of the gaze or as the

materialisation of unhappiness or emptiness. But this whiteness is nothing but the deceptive

appearance of background darkness. Over the last twenty years or so, Roig has addressed the

mythological passage of the fatal encounter between Actaeon and Diana and the

transformation of the former into a stag (a true “hunter hunted” that cannot tell what his

eyes have seen as his body is cruelly torn to pieces by his own hounds), believing it to be key

for his obsessive theory of vision on the brink of blindness. As Fernando Castro tells us,

“Bernardí Roig’s work might be no more than a deadly rompecabezas, a jigsaw puzzle or

literally ‘head-breaker’, the obsessive sediment of someone entrenched in a head faced with a

culture of embalmed moments.
 

The Aphonic Poets and the Silence of Actaeon is the third exhibition by Bernardi Roig">Bernardi Roig at our

space in Vienna. This project showcases a series of works (drawings, videos, sculptures,

paintings and photos) made over recent years that combine and intertwine his fascination

with the representation of the face - the series POETS - and the gaze of Actaeon, that

transgressive gaze that challenges the prohibition of the divine and insists on seeing what is

outside the possibility of sight. These images speak to us of non-communication, of the failure

of the word and the aphony of poetry; of a distrust of representation and language. These

works have the qualities of a mirror, they trap and deform our image and return to us a

perforated face without sureties trapped between silence and amnesia.



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