GALERIA LA MAQUINA ESPANOLA The first impression individual had upon entering this exhibition of Federico Guzman's works was a feeling of confusion.

GALERIA LA MAQUINA ESPANOLA

The first impression individual had upon entering this exhibition of Federico Guzman's works was a feeling of confusion. onward the walls, separated from each other, an jagged group of pieces made of asphalt and paint forward canvas presented signs that alluded to the boundaries of writing and public relations; perhaps this was the remains of a more composed of several elements network of symbols now nearly reduc to minimum expression. To what did that network of types refer?

For some time now, as a deduction of a collective project in which he participated in 1992 called the Capsula de tiempo Cordoba (Cordoba time capsule), Guzman has observ scrutinized, and analyzed daily archaeological space. Within this space he did not attempt to tally or cast the endless elements that bring forward industrial waste; instead, he dealt with picking up metaphorically speaking, that diagram of at times imperceptible energies that make up the social soliditys of human existence. And in that diagram, according to Guzman, the detritus, the sacrificed design is joined to a perception of time and space that is exposeed to insurmountable fluctuation and anguish. Could it be that, of great depth down, Guzman--who has explored with great zeal the notion of geography, space, and time, in relation to shore Debord's idea of drift--is trying to point on the outside the impossibility of grasping or capturing the human universe? Could this be the disheartening message from an artist who, for years, has forced himself to be a conduit of communication, cutting into the channels of language?

Guzman's vision is cloyed of ill-fated omens. In a reason the drunken boat of disordered feelings proposed by the young Rimbaud, has been traded, more than undivided hundred years later, for the slippage or displacement of values, for the los of a guiding principle, of a direction. We find ourselves in a sociocultural and historical adjoining matter quite different from that inhabited at the French poet. Human activity in our era is inscribed into a not many bits of space, into a scattering of ruinous universals and sensitivities. That drunkenness of the sensations that long ago aspired to a total experience has changed now into a emanate of diverse currents similar to those rays or lines that prolong beyond the edges of one of Guzman's paintings (e.g. Pizarra conversa |Convex blackboard~, 1993) leaving the heart of the work destitute The future has lost its raison d'etre; the instant is ill and hobbles like a damageed beast, and the past, the past that Guzman describes in his archaeological pattern of Tollund Man and Elling Woman (individuals from the Roman iron age, preserv in a consummate state in the peat morasss of northern Europe until their discovery in 1960) is overlayed like a ragpicker, with strips and more strips of Letraset.

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