Tareco (n.) definition:
Ajilimoje, ajilimójili, gear, jumble, out Cachirulo, buzzword, gossip, things, loose things, little things, salad, appliances, Maritato, mixture, patchwork, odds and ends, pingo, clothing, Thanatos, junk, chess pieces, clothing, trinkets.
Dear readers
Since the first time in 1917 Marcel Duchamp placed a urinal in an exhibition titled "Fontaine" as an illustrator of what he considered his aesthetic perception of non-art, and not precisely as a sensitive and promoter of new art, museums, galleries and state linked to the current post encompassed in the forefront informal and / or conceptual wrongly classified as contemporary art spaces (as if it were only such contemporary art or language) no longer filled with "works" unintelligible, of dubious aesthetic value of useless and dirty everyday objects, where "new" has ceased to be (and long) and where it is becoming increasingly necessary to have large storage space to store many "tarecos" useless and dull, they do not do anything but "fat" with powder containing, causing the same indifference, isolation and even rejection, that of the famous and notorious white urinal that French artist, one that almost always, the "new" attempts to continue to claim their piece of "originality", remind me more and more to the original and therefore still appear all over me boring if possible.
This was precisely the feeling I experienced in part to visit the exhibition "Paillet, protheses, Poubelle" (Sequins, appliances, trash) Anita Miller, Nina Childress and Emmanuelle Villard who is currently on display at the Center Exhibitions San Miguel de la Fundación Caixa Castelló-Bancaixa Enmedio street, 17, and that it could not be otherwise (since this type of art tends to need it) comes with up to a commissioner, Mr. Ramón Tio Bellido for explaining it, which we are "illustrated" in your presentation on-line, http://obrasocial.bancaja .com / culture / exhibitions / exposicionesficha.aspx? ID = 352 in a language that only he and maybe a few more, we can be of great interest, not so attractive and profound concepts that drive, but perhaps so bland, simple
and ambiguous that it is what he says, because in his text not only describes what we all see, but also tries to impose what one perceives. When I'm in the presence cases like these, always comes to mind David Hockney's words when he says "It is not necessary to believe in what you say an artist, but what he does," I think when we need to explain to others what one ago, I can think of two reasons that cause it - surely there are more, but only tell you two - first, because the creation of the work only in the interest and satisfaction that made, which a priori would be nice if we consider that it is good to respect individual freedom of the artist, so he can do and say whatever he deems necessary, but in defense of that individual freedom can not 
break the link with those they are called to enjoy and appreciate what we do, that is, public art, which also included many specialists in the field, as critics and artists, because if we do not have in mind and / or deny, For what it the individual that freedom really worth? whereupon What would be an exhibition like this that nobody understands and few admire? Some think that this secrecy in the course of the works, is also present in other movements or types of arts, such as abstraction, however, lies the subtle difference between these two approaches or ways to create, is that abstract art, its results will be organized from plastic resources inherent to the painting, which is not quite tight at least for those who understand that language, concepts and know how to handle use the resources that are unique in their form of expression.
And the second reason, perhaps more generic and reflective than before, but in close connection with this, is that for art to be a factor resulting stimulus to meditation and the sensitivity of people (experts or not) it is necessary that these are recognized in him, because if something goes wrong or is wrong and in this exhibition, more tire and auto parts to be displayed or blue dumpsters hanging ceiling, do not believe this action will inspire even the sensitive and empathetic understanding of auto mechanics, or distinguished urban sanitation workers.
The truth is that despite everything and as a curiosity, we see a huge waste in the use of supports used in this exhibition such as car tires and agricultural machinery hanging from the ceiling of the room , plastic containers for garbage, half melted as a result of the action of heat of a torch, steel wire boxes, colored plastics, automobile taillights which melted and assembled mosaic and many more gadgets I do think in a large housekeeping operation of a machine shop than in a showroom display pieces of art.
And that is the great paradox of all this lies in that many of the representatives or to represent this type of art, insisting repeatedly denying the value of modern or contemporary than the traditional trades may have classic or academic misnamed. For many of these defenders of the mega ultra modern and contemporary art, a brush, some paint and a piece of canvas, it is somewhat obsolete, old "fashion" and almost meaningless today, but however, this exhibition of both "Contemporary Art", is precisely the support that has been used in the work, which seems to be the causal factor that leads to the "original" or "only" the result, that yet another time (archaic for some) of another type of art would have no greater interest than that which supports the durability of the technical. It is curious to see how this exaltation of the calls in the result, is linked to this (the media) that has always been more linked to technical means and material comprising the office, that the purpose of the proposed conceptual discourse.
the end to this modern conception of the "contemporary" we have gone from an art, where the communication of the speeches in greater or lesser degree was understood, or at least shared by all, to a world of " tarecos" useless, dumb and outdated we expect that as the dust that covers them, lost in oblivion, with the slightest breeze fair and righteous over time.
to the next installment
Amaury Suárez
Ajilimoje, ajilimójili, gear, jumble, out Cachirulo, buzzword, gossip, things, loose things, little things, salad, appliances, Maritato, mixture, patchwork, odds and ends, pingo, clothing, Thanatos, junk, chess pieces, clothing, trinkets.
Dear readers
Since the first time in 1917 Marcel Duchamp placed a urinal in an exhibition titled "Fontaine" as an illustrator of what he considered his aesthetic perception of non-art, and not precisely as a sensitive and promoter of new art, museums, galleries and state linked to the current post encompassed in the forefront informal and / or conceptual wrongly classified as contemporary art spaces (as if it were only such contemporary art or language) no longer filled with "works" unintelligible, of dubious aesthetic value of useless and dirty everyday objects, where "new" has ceased to be (and long) and where it is becoming increasingly necessary to have large storage space to store many "tarecos" useless and dull, they do not do anything but "fat" with powder containing, causing the same indifference, isolation and even rejection, that of the famous and notorious white urinal that French artist, one that almost always, the "new" attempts to continue to claim their piece of "originality", remind me more and more to the original and therefore still appear all over me boring if possible. This was precisely the feeling I experienced in part to visit the exhibition "Paillet, protheses, Poubelle" (Sequins, appliances, trash) Anita Miller, Nina Childress and Emmanuelle Villard who is currently on display at the Center Exhibitions San Miguel de la Fundación Caixa Castelló-Bancaixa Enmedio street, 17, and that it could not be otherwise (since this type of art tends to need it) comes with up to a commissioner, Mr. Ramón Tio Bellido for explaining it, which we are "illustrated" in your presentation on-line, http://obrasocial.bancaja .com / culture / exhibitions / exposicionesficha.aspx? ID = 352 in a language that only he and maybe a few more, we can be of great interest, not so attractive and profound concepts that drive, but perhaps so bland, simple
and ambiguous that it is what he says, because in his text not only describes what we all see, but also tries to impose what one perceives. When I'm in the presence cases like these, always comes to mind David Hockney's words when he says "It is not necessary to believe in what you say an artist, but what he does," I think when we need to explain to others what one ago, I can think of two reasons that cause it - surely there are more, but only tell you two - first, because the creation of the work only in the interest and satisfaction that made, which a priori would be nice if we consider that it is good to respect individual freedom of the artist, so he can do and say whatever he deems necessary, but in defense of that individual freedom can not 
break the link with those they are called to enjoy and appreciate what we do, that is, public art, which also included many specialists in the field, as critics and artists, because if we do not have in mind and / or deny, For what it the individual that freedom really worth? whereupon What would be an exhibition like this that nobody understands and few admire? Some think that this secrecy in the course of the works, is also present in other movements or types of arts, such as abstraction, however, lies the subtle difference between these two approaches or ways to create, is that abstract art, its results will be organized from plastic resources inherent to the painting, which is not quite tight at least for those who understand that language, concepts and know how to handle use the resources that are unique in their form of expression. 
And the second reason, perhaps more generic and reflective than before, but in close connection with this, is that for art to be a factor resulting stimulus to meditation and the sensitivity of people (experts or not) it is necessary that these are recognized in him, because if something goes wrong or is wrong and in this exhibition, more tire and auto parts to be displayed or blue dumpsters hanging ceiling, do not believe this action will inspire even the sensitive and empathetic understanding of auto mechanics, or distinguished urban sanitation workers. 
The truth is that despite everything and as a curiosity, we see a huge waste in the use of supports used in this exhibition such as car tires and agricultural machinery hanging from the ceiling of the room , plastic containers for garbage, half melted as a result of the action of heat of a torch, steel wire boxes, colored plastics, automobile taillights which melted and assembled mosaic and many more gadgets I do think in a large housekeeping operation of a machine shop than in a showroom display pieces of art. 
And that is the great paradox of all this lies in that many of the representatives or to represent this type of art, insisting repeatedly denying the value of modern or contemporary than the traditional trades may have classic or academic misnamed. For many of these defenders of the mega ultra modern and contemporary art, a brush, some paint and a piece of canvas, it is somewhat obsolete, old "fashion" and almost meaningless today, but however, this exhibition of both "Contemporary Art", is precisely the support that has been used in the work, which seems to be the causal factor that leads to the "original" or "only" the result, that yet another time (archaic for some) of another type of art would have no greater interest than that which supports the durability of the technical. It is curious to see how this exaltation of the calls in the result, is linked to this (the media) that has always been more linked to technical means and material comprising the office, that the purpose of the proposed conceptual discourse. the end to this modern conception of the "contemporary" we have gone from an art, where the communication of the speeches in greater or lesser degree was understood, or at least shared by all, to a world of " tarecos" useless, dumb and outdated we expect that as the dust that covers them, lost in oblivion, with the slightest breeze fair and righteous over time.
to the next installment
Amaury Suárez
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