«Oxímoron / Oxymoron»


Unique Works
September 15 to October 15, 2016

An encounter with Jorge Magyaroff’s artwork (Bogotá, Colombia, 1979) is like being in front of a thin line drawn between the accidental and incidental. It moves us to contemplate the beautiful presence of an involuntary mistake that seems to have been left like an event on pause. But when seeing Magyaroff’s series as a whole, we discover that what in a single piece appears to be a wonderful encounter of serendipity is collectively revealed as a meticulously fabricated representation of error. In other words, the beauty of his objects precisely lies in their contradiction, converting his pictorial objects into an oxymoron.

To a certain extent, this idea reminds us that the poetry of accidents has its epitome in the phrase of Comte de Lautréamont with «the chance meeting on a dissecting-table of a sewing-machine and an umbrella». So randomness, accidents and the footprints of Pollock’s controlled chaos determine some of the important points of Magyaroff’s creation. Therefore, in their titles, No hay que llorar sobre la pintura derramada [Don’t Cry over Spilled Paint] (2011) and Escenarios – Pinturas accidentales [Scenarios – Accidental Paint] (2012), his first series based on this consideration evoke ideas such as the error of an action that can no longer be avoided and the premeditated recreation of said mistake. It is comprised of cans of paint that have been abruptly knocked over, aggressively invading the color of the surface. But what we see has not really occurred. The crime scene has been reconstructed, and it has been determined up to where the color will run and what color it will be. It is a composition in which time appears to have been stopped by the artist, as proof of his control over his own creation. A controlled chaos and a premeditated accident; more oxymorons.

Consequently, the other value of great importance in his production is how in these explorations, paint goes from being the medium to the topic. It stops being the material with which it is represented to be the subject of its materiality. In Intersecciones [Intersections] (2014), its presence leaves more clues of its incidentality than of its accidentality, as there are different colors of paint cans, which in their apparent and chance encounter combine in a harmonious and quite suspicious way. Therefore, the volume of color in Magyaroff’s work is the most important value of his reflection as an artist, who inherited a concern that Anish Kapoor and Niki de Saint-Phale have taken to its maximum consequences.

The encounter with Magyaroff’s work brings into doubt the sacredness of painting as a hegemonic medium in the history of art with heavy doses of humor. This is because the objects that present and recreate its scenes appear to be the materials of a careless construction worker. His pictorial objects are cause for surprise, humor and admiration in the same order. The viewer’s eye progressively comes across surprising chaotic elements that come about in powerful forms of serious artistic production, and which are always seductive in their charismatic, chromatic presence.


Christian Padilla
Historiador de arte y curador