{"id":3912,"date":"2019-12-09T21:26:51","date_gmt":"2019-12-09T21:26:51","guid":{"rendered":"http:\/\/victorhugoperez.mx\/?p=3912"},"modified":"2020-03-20T20:30:22","modified_gmt":"2020-03-20T20:30:22","slug":"what-happens-when-we-find-ourselves-in-front-of-a-piece-of-victor-hugo-perez","status":"publish","type":"post","link":"https:\/\/victorhugoperez.mx\/english\/2019\/12\/what-happens-when-we-find-ourselves-in-front-of-a-piece-of-victor-hugo-perez\/","title":{"rendered":"What happens when we find ourselves in front of a piece of V\u00edctor Hugo P\u00e9rez?"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

What happens when we find ourselves in front \n
of a piece of V\u00edctor Hugo P\u00e9rez?\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Hugo Plascencia<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u201cthe symbol of unity of human nature, the essential identity of men and the beast\u201d\u00a0<\/p>

D.S Mirsky<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Jos\u00e9 Luis Barrios mentions that \u201cthe cause of the representation is the look of desire, but the effect of desire rests on the own image that gazes at us\u201d. And is indeed, when we stand in front of a piece of V\u00edctor Hugo P\u00e9rez, that we cannot stop thinking about two aspects: the first deals with the context of crux and shape, in relation to the remembrance of the violent and sordid nightmares of childhood as possible theme; the second addresses the reading of the technique employed as part of the creation process, in which the primitive hands of the artist apply the telluric matter of the primary colors on the canvas as part of the art that rises from the ritual, according to Jane Ellen Harrison. As if the artist wishes to catch with the open palms of his hands, the oneiric specters of the night that ride on the distressing violent saturation of space, leaving aside the perspective and the planes.<\/p>

\u00a0 \u00a0 \u00a0 The oneirism characterizes on its basis by the visual hallucinations that surround other senses and are expressed through touch and hearing creating what is known as \u201coneiric delirium\u201d. And it is maybe, that first oneiric impression that the work of V\u00edctor Hugo reveals to us, with its specters wandering in the canvas space, almost with the intuition that at some point they will come alive, but above all, with the perception of listening closely to the echo of their strident screams, emitted with a high-pitched and free tone by certain figures that are closer to the personification of psychosis.<\/p>

\u201cAll that we see or seem is but a dream within a dream\u201d says Edgar Allan Poe, -as mentioned at the beginning of the text-, like those lucid and at the same time monstrous dreams experimented during childhood, and that are now used by the artist to create, through the artifice and purpose of the technique, the ghostly effect of fever on the recipient. But this oneirism in P\u00e9rez\u2019s work is not only pictorial but also literary, as he uses different resources in a latent way, such as allusions, signs and symbols, within a frame more narrative than poetic to title his work.<\/p>

\u00a0<\/p>

\u00a0 \u00a0 \u00a0 I remember one time, -to be more specific- at an exhibition of V\u00edctor Hugo in Mexico city, the artist commented while answering to my question regarding his work, \u201cthat his work, more than a heap of influences, was a tribute to the great artists he admires and in whom he recognizes himself\u201d where we can perceive the strength of the lines of a Vincent Van Gogh; the shapes and shadows, which remind us of the anti-totemic and calamitous dogs from Baudelaire\u2019s magnificent literary work El<\/em>\u00a0spleen de Par\u00eds<\/em>, in which the hounds roam lonely down the sinuous torrents of the big cities, and are present in Rufino Tamayo\u2019s work; the violence of the immediacy also perceived in the primary colors of the raw matter in Jean-Michel Basquiat\u2019s; without forgetting Pablo Picasso\u2019s footprint and his fauna of roosters and cats catching and devouring the electric birds with a monumental appearance of crows, with that distortion effect on the characters looks, with sharp hoofs on the canvas weave. Thus V\u00edctor Hugo\u2019s search hasn\u2019t been blind, but heuristic instead, although based on his own experience, where the artist has accumulated this existential baggage and has transfigured it into an oneiric and telluric ritual, into a palimpsest of violence.\u00a0<\/p>

\u00a0 \u00a0 \u00a0 In V\u00edctor Hugo\u2019s ghostly bestiary we can appreciate an ironic and sarcastic breath of failure, from the topics of sex and religion by excellence, always with elements that play with the illusion of the autobiographic, with a keen wink of irreverence as seen in his work collage<\/em> and in his \u201cexquisite corps\u201d, in which more than revealing an erotic character in the line of Georges Bataille\u2019s postulates, they demystify the aesthetic pleasure in the voyeur\u2019s doctrine until being ridiculed to its minimum expression.\u00a0<\/p>

\u00a0 \u00a0 \u00a0 But V\u00edctor Hugo\u2019s search mentioned above has been notable, as in pieces like The Run (La huida)<\/em> we can verify an exploration of other techniques and supports like the approach with the retable or the votive offering, and in which in a manner of leitmotiv<\/em>, the elements such as the \u201cbird of desire\u201d and the dog make up the role; one of sacrificed and the other of \u201csacrifier\u201d; one for its condition of tortured and the other as a torturer, metaphorically symbolizing the love, in which sometimes cohabit and other times confront all along the work, and I dare to affirm that V\u00edctor Hugo has a closer bond, something that goes beyond the identification and filiation, as a mimetic syndrome of ambivalence with reference to both characters, in their proceeding and their acting in the urban plane.<\/p>

\u00a0 \u00a0 \u00a0 This urban act-ritual we are talking about, is nothing else but the wandering of the dog and the strolling of V\u00edctor Hugo, from his childhood until today, as an event typical of a mental state, of a trance, as explained by Walter Benjamin regarding the idea of the wandering, in which these strolls worked as a fertile breeding ground so the visual artist would participate from the inside into his work, and not only depicting the city as a separated observer, but diving into the metropolis to make the recipient a voyeur, \u201ca botanic of the sidewalk\u201d, as we can verify in the pieces of The Angel of Independence (El \u00e1ngel de la independencia)<\/em> and The Westin, where the contemporary images of the city interweave in an act-ritual that rebukes us violently, with keen eye and spying sense, with the common and vital need of an aggression, of an omen and a premonition where all makes sense, creating for us, many times, the impression of being deprived of themselves, before the vulnerability of being bitten by a dog.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Share with the world<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tFacebook-f<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tTwitter<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tGoogle-plus-g<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tLinkedin-in<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Hugo Plascencia<\/p>\n","protected":false},"author":1,"featured_media":4667,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"full-width.php","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3912","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"_links":{"self":[{"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/posts\/3912","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/comments?post=3912"}],"version-history":[{"count":31,"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/posts\/3912\/revisions"}],"predecessor-version":[{"id":7272,"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/posts\/3912\/revisions\/7272"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/media\/4667"}],"wp:attachment":[{"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/media?parent=3912"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/categories?post=3912"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/victorhugoperez.mx\/english\/wp-json\/wp\/v2\/tags?post=3912"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}