Creating, nonstop creating and without thinking in for who are you creating. Creating because is a soul, hand, intellect, and body necessity. Creating, without rest, that is what Guillermo Núñez does for decades, transforming experiences, feelings, and reflections in an unrivaled visual piece.
In the exhibition curated by Ismael Frigerio, artist of recognized trajectory, Guillermo exposes as rarely before, his art books. These are the central axis of the exhibition and help to configure the rest of the exhibition, where works from the 70s, 90s and their latest works are observed. Zen drawings created from his wonderful workshop where reign queltehues, thrushes, hummingbirds, bees, ants, peumos and birches; drawings that are a reflection of his current state, which after torture has found calm in space and time that does not seem to exist, since he is far from the worldly Santiago, withdrawn behind the walls that isolate him -this time- personal decision.
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The exhibition seeks to show the world these books, Guillermo’s creations where the writing is confused with the drawings, with original covers made by his own hands, where there are unique works in linen-lined boxes that look like a book from the outside, with the layout , design and selection of each element carefully made by the artist, at what time? It seems that the time inside those white walls of his home stops so that Guillermo can create without stopping, and have thousands of works, copies, versions of each work he does.
These books, many times, Guillermo gives them to those who visit him in a simplified version to circulate them, because from each original book he creates two or three simpler versions with different prices, to give or sell, since the large ones have a value too high for Chilean society that does not spend or invest in these works of art. The same applies to his paintings whose value exceeds 20, 30 and more millions of pesos, and which the artist prefers not to sell before leveling at market prices. Pieces that he prefers to give to institutions before removing the economic value to what has so much symbolic value. Because, finally, the questionable price in this act of setting a value is not the monetary price, or in the act of selling at a high cost, the reasons for the discounts are the low valuation to a work of life, in which the artist is immersed. If the monetary value were what the artist seeks to achieve, he would not give his works every year on stand where he sits to “sell” engravings at 100 pesos; he would not take one of his magic wands to give personally to those attending the inauguration; I would not smile fascinated to know that there are 7 year old girls who read the message of the wand and disarm it in order to play to convert what they touch into art; I would not go to the Mono González stand every Saturday morning to accompany him, talk, support and sell even a print that helps them to give more life to his work.
And what a paradox is the story, Guillermo every Saturday in the morning goes from Las Perdices to the Persian Biobío to accompany Mono, in the sale of engravings in a post among thousands of other positions that this Santiago space has. There, they meet the other vendors, the frequent customers of the sheds and greet with affection the few “intellectuals” who circulate looking for some curiosity, some different object. However, they do not sell to collectors that on the day of the opening they did arrive at Factoría Santa Rosa for the exhibition. And it is, thank goodness, a gallery that has as much value for its location as for the history of the space in which it is located. Previously it was the administrative offices of Textiles Musalem, and now a Persian with more than 500 posts that are leased at 88 dollars per month, so that a large part of Greater Santiago can subsist, so that the economy of which the press boast abroad can hide the reality of how difficult life is in this country, where public transport, gasoline and bread (massive food of Chilean people) costs more than $ 1 a ticket, $ 1.2 a liter, $ 1.5 the kilo, and the minimum wage does not rise of USD420.
In this space, Guillermo Núñez made an exhibition that attracted many people, art agents, collectors and also friends or acquaintances to see the new, the latest or simply what they did not know about an artist who has been creating works for more than 50 years of art, whose books exist since before 1974 when he was exiled, which were exhibited in the retrospective he did in 2015 at the Museum of Contemporary Art, and which will be kept on display to be reviewed sheet by sheet at Factoría Santa Rosa until 2 from December.