Published in the special issue of ARCO magazine, April 2005, Madrid (pages 13-14)

Casa de América. Why to fear the future? Carlos Amorales.

Why to fear the future? Maybe because of its colour, because it comes to us as black on white. Or because we only find signs that get mixed up endlessly and draw raw silhouettes, not always easy to identify. Carlos Amorales turns towards perception, plays with the subtle difference between images that alone seem innocuous and an almost claustrophobic environmental set. He acheives the same result as certain movies when they introduce us into states of mind by adding simple elements which, separately, have a minimal effect. His exhibition seems to cause a similar sensation than the image bombing of the media, where military events full of ideology are followed by extremely frivolous scenes, in a disconcerting group.

A video-animation of Rorschach tests tackles the game of what we perceive and imagine, using graphic elements that are nothing more than dark prints on a white background. But the ambiguity of perception drives us towards the insinuation of hidden games and bussiness, those which decide a future filled with dark birds and premonitions, an intriguing future that we always want to predict by means of "zeitgeist". What shall we do when these signs confuse the wolf with the man? In the image show, Bin Laden is also Ernesto "Che" Guevara or a mexican wrestler nicknamed "La Parca"(1). Colour and graphics favour a sinister environment and, at the same time, prove that using such an adjective is arbitrary. Silhouettes spread frightening combinations, but the key of the effect lies in the means we use to interpret them: psychological, esoteric, scientific... Someone will interpret the cards, arguing that he knows how to do it, but we must also remember the best card games: it's not so important to have a good hand, but being a good liar.

Why to fear the future if, at the end, there will be no unsolved misteries? Why to give in to fear if the work of machinists in the backstage remains clear? In the work "Dark mirror", a video leads us to grief or sorrow on one side of the screen and, on the other side, we can see a pianist playing a music able enough to make us cry. Carlos Amorales developes a lucid reflection (the paradox is that he is also ambiguous, or even confusing) about the drama of our times.

(1) In Mexico, "La Parca" is a familiar name given to death.

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