The Space and Time of Ulises
The Space and Time of Ulises
In a socio-cultural context of global information technology, which is nonetheless full of dichotomies, young artists are making efforts to better understand the relationships between real/virtual everyday experience and the historical context of an organised global network operative since the 1960s that has irreversibly fertilised ideas and initiatives. In this they are not alone. A parallel can be seen in the growing contingent of historians and theorists engaged in the pursuit and critical organisation of available information about the conditions of contemporary art. These two intellectual and methodological structures operate as research devices and are directly responsible for the underlying framework of our current artistic and affective identity. Together with works and judgements, characters and actions can be identified through which our founding heroes are restored in the imagination. Ulises Carrión needs no help with interpretation, for his light continues to burn. The importance of his work can be emphasised, however, together with his growing supranational artistic influence. He is a phenomenon of increasing stature.
Carrión kept moving for most of his life. This was not a pilgrimage (driven by faith) or a crusade (driven by a cause), but rather a very personal intermediary condition: the wheel had to keep turning. First in the search for his own creative path, later heralding his proposals as a cultural strategist, he visited countries where he helped to form important interdisciplinary ties between the visual and the written word. Carrión established himself as a writer before leaving his native country in the early 1960s. He travelled to many places in Europe and to North and South America, eventually making his base in the Netherlands. He was an art entrepreneur, a disseminator of new languages, a manager of the symbolic market. In 1975 he and Aart van Barneveld created Other Books and So in Amsterdam, a
In a socio-cultural context of global information technology, which is nonetheless full of dichotomies, young artists are making efforts to better understand the relationships between real/virtual everyday experience and the historical context of an organised global network operative since the 1960s that has irreversibly fertilised ideas and initiatives. In this they are not alone. A parallel can be seen in the growing contingent of historians and theorists engaged in the pursuit and critical organisation of available information about the conditions of contemporary art. These two intellectual and methodological structures operate as research devices and are directly responsible for the underlying framework of our current artistic and affective identity. Together with works and judgements, characters and actions can be identified through which our founding heroes are restored in the imagination. Ulises Carrión needs no help with interpretation, for his light continues to burn. The importance of his work can be emphasised, however, together with his growing supranational artistic influence. He is a phenomenon of increasing stature.
Carrión kept moving for most of his life. This was not a pilgrimage (driven by faith) or a crusade (driven by a cause), but rather a very personal intermediary condition: the wheel had to keep turning. First in the search for his own creative path, later heralding his proposals as a cultural strategist, he visited countries where he helped to form important interdisciplinary ties between the visual and the written word. Carrión established himself as a writer before leaving his native country in the early 1960s. He travelled to many places in Europe and to North and South America, eventually making his base in the Netherlands. He was an art entrepreneur, a disseminator of new languages, a manager of the symbolic market. In 1975 he and Aart van Barneveld created Other Books and So in Amsterdam, a