Doorbell-Timbre

We have pointed out on various occasions how the work of Reyes could be ascribed to the artistic traditions ─assemblages, ready mades or New Realism of artists like Arman, Cesar or Tinguely – where the real object replaces the illusory and the separation between art and life is diluted. However, Doorbell seems to revisit approaches, a priori as divergent from the artist’s own ideas, similar to the minimalists.

The use of industrial materials constitutes one of the basic principles of minimalism. The use of these gives the work an anti-artistic appearance, while they lack connotations of beauty, purity or naturalness and, above all, because they have been produced without the participation of the artist and without belonging to the artistic tradition *. In DoorbeIl, Reyes uses industrial materials in a manner analogous to minimalists, but unlike those used by artists such as Donald Judd or Carl Andre, these have not been created intentionally but have been rescued and reused.

On the other hand, the nine plates that make up Doorbell, intertwine with another elementary principle which is the repetition of the identical. This repetition, as Josep Maria Montaner would say, releases a great amount of energy and, at the same time, produces an effect of deep annoyance, obsession and anguish. Montaner would add the repetition of the identical, eliminates hierarchy, center, narrativity and monumentality. To compensate for the loss of these elements, Reyes utilizes a disturbing ring to refocus our attention.

Along with this, Doorbell also quotes several of the most recognizable concerns and drives in the work of Reyes. Above all, the revaluation of the traces of time stand out. On the incorruptible metal, a map is made up of the scratches, blows and remains of cement, where the trail left on the road is still recognizable. Doorbell, like Ithaca, the celebrated poem of Kavafis, revels in its journey without any regard for its fate.

 

* See: Pérez Carreño, F. Minimal art. Object and meaning. The Raft of the Medusa, Madrid, 2002. Page. 134
** See: Montaner, J.M. The modernity surpassed. Architecture, art and thought of the twentieth century. GG, Barcelona, 2002. Pág. 194.

Technical data

Iron, wood, cement and spray

150 x 150 x 12 cm

2015