Pep Agut

Pep Agut
Dymos, 1999-2000
Home, Sweet Home, 2000
Tècnica mixta (Metacrilato, lienzos, madera, dymos, tornillos y lápiz) / Mixed Media
140 x105 x 11 cm.
Home, Sweet Home forma parte de una serie de trabajos que son una alegoría de la pintura. Para estas
obras, Agut utiliza una mezcla de materiales muy diversos: lienzos sobre bastidores, masilla y dymos. El
punto de partida de su trabajo es el “Hombre” (el hogar) y del que habla el cuadro, es la pintura y su
historia.
El texto de los dymos dice: “no hay nada mejor que pintar” (“there’s nothing better than painting”); de
hecho, este trabajo es una celebración de la pintura. De la pintura como escritura, como signo, como
expresión, como rastro de una práctica que no se resuelve sin el espectador pero que es, al final, una
deliciosa elección de vida.
Home, Sweet Home forms part of a series of works which are an allegory of painting. For these works,
Agut uses a mix of diverse media: canvas over stretcher frame, filler, and label cassettes. The starting
point of this work is the “Man” (the home), in which the painting speaks of painting and its history. The
text on the label cassette says: “there is nothing better than painting”; moreover, this work is a
celebration of painting. Of painting as writing, as symbol, as expression, as the trace of a practice that
doesn’t resolve without the spectator, but which is, in the end, a wondrous life choice.
Do you need me, 2000
Técnica Mixta
140 x 105 x 11 cm.
Con un sentido del humor un tanto inglés, esta obra propone al espectador un enunciado algo cínico:
“¿Me necesitas? ¿O no?”, orillándonos a pensar por qué entendemos, deseamos o necesitamos el arte.
Los textos en dymo indican en inglés: 'with the first money I got from my paintings I bought a bicycle, a
watch and some books. I still keep the books', y 'with this money you can buy a small car, or a threeweek holiday tour in the best three Michelin stars restaurants, or make a nice trip to North Korea, or...', Y
por lo tanto, me necesitas o no?
La superposición de las partes del texto principal funciona como la de los dymos: hay una historia y una
contra-historia que constituyen otra vez una posición del espectador.
With a sense of humor, this work proposes to the viewer a somewhat cynical announcement: “Do you
need me? Or not?”, driving us to ask why we understand, desire or need art. The texts in label cassettes
indicate (in English): 'with the first money I got from my paintings I bought a bicycle, a watch and some
books. I still have the books', and 'with this money you can buy a small car, or a three-week holiday tour
in the best three Michelin-star restaurant, or make a nice trip to North Korea, or...', And moreove, do you
need me, or not? The superpositioning of of the different parts of the main text works like that of the
label cassettes: there is a story and a counter-story that constitute once again the position of the
spectator.
Interview, 2000
Técnica Mixta
140 x 105 x 11 cm.
El texto en dymo dice: “what was really first, the question or the answer? I think that every question
implies an answer which also implies a question. In the end all we need is talking. But how to speak
about images? In fact every word is already an image”.
Este es un comentario sobre el concepto de pregunta - y de entrevista, por tanto- que responde, con
cierto sentido del humor, al problema de preguntar sobre arte y, sobre todo, sobre las imágenes.
The text in label cassettes reads: “what was really first, the question or the answer? I think that every
question implies an answer which also implies a question. In the end all we need is talking. But how to
speak about images? In fact every word is already an image”.
This is a commentary on the concept of the question – and the interview, therefore – which responds
with a certain sense of humor to the problem of asking questions about art, and especially about images.
Words Are Images 1999
Técnica Mixta
140 x 105 x 11 cm.
Esta obra tiene relación con su instalación “Los síntomas son palabras atrapadas en el cuerpo”, 1995-2000
(colección MACBA). Tanto en la instalación, como en esta obra, el texto remite directamente al trabajo de Jacques
Lacan.
En el caso de Words are Images (1999) el 'statement' de la obra es taxativo: las palabras son imágenes, las
imágenes son palabras. De hecho las palabras del texto principal están construidas como si fueran una imagen. El
dymo, en forma de cruz lo subraya: cada palabra, cada imagen... Todas juntas constituyen el cruce de todos los
lenguajes posibles.
This work is related to the installation “Symptoms are words trapped in the body”, 1995-2000 (MACBA
collection). As in the installation, here the text addresses directly the work of Jacques Lacan.
In the case of Words are Images (1999) the statement about the work is strict: the words are images,
the images are words. Moreover, the words of the main text are constructed as if they area n image. The
label cassette, in the form of a cross underlines it: each word, each image... All together, they constitute
the meeting point of all languages.
.