TRIPZITTER

An eye that looks the other way: tripzitter by Fabián Ramírez

I live on Earth at the present, and I don’t know what I am.
I know that I am not a category. I am not a thing — a noun.
I seem to be a verb, an evolutionary process-
an integral function of the universe
Buckminster Fuller

A vision-action that gives matter to something invisible, leaving sediments, traces and memory blots. Something that manifests, an overlap, an eye that looks the other way, but attends to painting as a basis for understanding and thinking about things in the world. This is the scene, raw and secret of Fabián Ramírez. An anticipatory deliberation, an invisible space of all moods, meditations and mysteries, an infinite storehouse of frustrations-discoveries.

For Byung-Chul Han, hiding, delaying and distracting are also spatiotemporal strategies of the beautiful. The calculation of the semi-hidden generates a seductive glow. The beautiful hesitates when it comes to manifesting itself. Distraction protects you from direct contact. Distraction is essential for the erotic. I think that Fabián’s work is interested in the phenomena that eroticizes the world, an aesthetic of the event that discovers-conceals and interrupts them in the fissure, the rupture and the void.

Fabian Ramírez’s interest in Psychedelia, a neologism that suggests that something of the soul manifests itself, seems to understand that the phenomenon that began in the sixties of the last century has to do with the production of desires that strives to discover what is still not conscious. For Diedrich Diederichsen, each critical enlightenment movement with strong concepts advances, leaving behind a trail of snail drool of irrationalism, full of images. Fabián seems to insist that his pictorial, drawing and ceramic work has to do with the role of experience and the duration of those images blurred by time, the market and consumption, but altered to overturn their meaning. A mode of symbolization that shapes the strangeness of the world into recognizable strangeness.

The title of the exhibition that is presented at the Daniela Elbahara Gallery accounts for this awareness, by altering Tripsitter (caretaker (e) of the trip) for tripzitter (“zittern”: tremble) the meaning or action of accompanying and directing the psychedelic journey it is transformed by the chill represented by entering the threshold of another consciousness: The vertigo of dissolution condenses the antipodes: there alternate the anguish of the fall and the pleasure of self-expansion. The death of that substantial and continuous self can be, at the same time, liberation from the density accumulated in it. Instead of the unity of the subject, the dance of becoming: An organic and fluid work that vindicates the radical subjectivity that makes new magic in the dusty world and makes each moment a point of view of all time, and all the rarity, glory and energy of life at our feet.