Gumier Maier- El Tao Del Arte

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Documents of 20th-century Latin American and Latino ArtA DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON

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International Center for the Arts of the Americas at the Museum of Fine Arts, Houston

Registro ICAA: 769509Fecha de Acceso: 2015-04-25

Cita Bibliogrfica:Gumier Maier, Jorge. "El Tao del Arte." In El Tao del Arte. Exh. cat. Buenos Aires: Gaglianoni,1997.

Resmen:En este texto prlogo del catlogo de la exposicin El Tao del Arte (Buenos Aires: CentroCultural Recoleta, del 13 de mayo al 8 de junio de 1997) Jorge Gumier Maier, relata cmo lascondiciones del Centro Cultural Ricardo Rojas, lugar sin historia, sin marcas y radicalmentefuera del circuito por sus caractersticas y emplazamiento le permitieron, como director de lagalera, una total libertad de accin. Explica lo que signific la muestra El Rojas presenta:Algunos Artistas (Buenos Aires: Centro Cultural Recoleta, del 26 de agosto al 6 de septiembrede 1992). Discute, adems, las nomenclaturas elaboradas por el discurso crtico para referirse alos artistas que El Rojas reuna (arte light, arte guarango, arte rosa); refiere los debatessurgidos alrededor de las obras. Finalmente,Gumier Maier expone su postura esttica,aclarando que esta exhibicin no pretende ser una antologa de la galera, sino simplementemostrar a aquellos que han pasado por sus salas.

el Tao del Arte

En 1989, el Centro Cultural Ricardo Rojas de la Universidadde Buenos Aires, decide, a raiz de una remodelacin en su

planta baja crear un espacio destinado a las artes visuales. Laimpronta de la institucin ( dirigida desde 1986 por LeopoldoSosa Pujato y en la cual Batato Barea realize) sus maravillosaspuestas en escena ) predisponia a la aventura. La libertad quetuve para ocuparme de ese lugar sin historia, sin marcas, y

radicalmente fuera de circuito por sus caracteristicas y

emplazamiento, permiti que hiciera de esta tarea impensada

un juego afortunado. Como en prestamos renovados podriayo mostrar esas cosas que me habian fascinado en casa de

amigos y conocidos, o que nos habian asombrado cuando

junto a Pablo Suarez y Roberto Jacoby nos topbamos conellas, malamente exhibidas, en algn bar o discoteca.

El entusiasmo de estos dos artistas surgidos en los 60 fue

decisivo en la inesperada repercusin que esa modesta sala

un pasillo pronto adquiri. Asi es que en 1992, conMagdalena Jitrik como cocuradora, pensamos acercar una

seleccin de aquellos que habian dado "sus primeros o

the Tao of Art

In 1989, at the Centro Cultural Ricardo Rojas, a branch ofthe Universiry of Buenos Aires, the decision was taken to

create a space dedicated to the visual arts. The profile of

this institution ( directed since 1989 by Leopoldo SosaPujato and in which Batato Barea performed his wonderfulwork on stage) invited the adventure. The liberty implicit indirecting when I was put in charge of this space with no

history, no marks and because of its qualities and location

radically out of the artistic circuit, principally, allowed me to

make of this unexpected task a fortunate game. As if gifts I

could show those things that had fascinated me, things I had

seen in the houses of friends and acquaintances, or those

that had astonished me when in the company of Pablo

Suarez and Roberto Jacoby I came across them poorly

exhibited in some bar or discotheque.

The enthusiasm and support of these two artists whoemerged in the 60's was decisive in the unexpected notoriety

which the modest hall a passage soon acquired. So in

1992, with Magdalena Jitrik as co-curator, we thought of

769509 This electronic version 2015 ICAA | MFAH [2/9]

segundos pasos" en la galeria del Rojas a un pblico msamplio. Fabian Lebenglik hablaba en el catlogo del escotoma,

esa opacidad en el ojo que nos impide ver las cosas frente anosotros, para referirse al trato marginal que la galeria tenia

en el mcdio artistico. Poco se decia de nuestra parte en el

texto que le acompaii. Resaltbamos la singularidad de estos

artistas, sus procedimientos empecinados, to potico

surgiendo donde no se lo esperaba. Quizs todo estuviesecifrado en el titulo austero, raso una suerte de grado cero de

la curacin - con que decidimos anunciar la muestra: el Rojaspresenta: Algunos Artistas. Su vaguedad no parecia aspirar

ciertarpente al debut de un nuevo movimiento, ni permitia

imaginar un inventario de lo emergente. Se) lo nosdisponiamos a celebrar los mundos fascinantes de "algunos

artistas". Un paisaje tan variado y poco regular provoc quela galeria se viera sometida a interrogatorios perentorios:

Con qu linea se habia armado la muestra ? Cul era la

estrategia que se desarrollaba en el Rojas ? Y desde algnorganismo pblico se requiri nuestro " plan de trabajo "pues deseaban reproducirlo en otros sitios.

El modelo domestico, ese placer privado mostrado en pblico,

se vio urgido a responder. Hoy Okakura Kakuzo podria acudir

en mi auxilio: " es lamentable que, actualmente, gran parte

del aparente entusiasmo por el arte no est fundado en

sentimientos genuinos. En est poca democratica, loshombre claman por lo que popularmente se considera lo

mejor, sin prestar atencin a sus propios sentiniientos". Unprrafo antes ponderaba la coleccin de objetos de Rikiu, elprimero de los maestros del t, porque " se atrevia a amar slo

aquellos objetos que lo atraian personalmente." 1Sin embargo, remitirlo todo al gusto seria sospechado de

approaching a broader public with a selection of the works

by artists who had given "their first or second steps" in the

gallery at the Rojas. In the catalog Fabin Lebenglik wroteabout scotoma, the opacity of the eye that keeps us from

seeing what is right in front of us. He was referring to the

marginal treatment the gallery received from the artistic

environment. Our accompanying text added little to it. We

emphasized the singularity of these artists, the obstinacy in

their procedure, the emergence of the poetic where least

expected. Maybe everything was condensed in the flat,

austere title which we gave the exhibition: The RojasPresents: Some Artists. Its vagueness certainly did not

seem to aspire to introduce a new movement nor would it

allow the fostering of an inventory of what would emerge.

We were only organizing the celebration of the fascinating

worlds of "some artists". Because of such a diverse and

irregular landscape the gallery was subjected to the mostperemptory interrogations. In what line was the exhibit

arranged? What criteria was used to put the show together?

And some government institutions even requested a "work

plan" because they wished to reproduce it in other places.

The domestic model, that private pleasure shown in public,

had to respond. Today Okakura Kakuzo could come to my

assistance: "it is unfortunate that, nowadays, the apparent

enthusiasm for art is not founded on genuine feelings. In

this democratic epoch, men clamor for what is popularly

considered the best, without paying any attention to their

own feelings". In a previous paragraph, he admires Rikiu s

collection the first of the Tea masters , because "he dared

to love only those objects that attracted him personalW.1However, referring everything to taste might be suspected of

82


impostura: alguna consistencia debia anidar alli y serdesentraada. Las enzimas del saber se lanzaron a susarrebatos digestivos y regocijaron por sus nutrientes. Dijeronque habia surgido un grupo de artistas dispuestos apavonearse en los submundos del kitsch y cuyo ingenio les

llevaba a ensayarlo todo con levedad. Algunos aseguraron

que esta jactancia los convertia en "guarangos": gente quegusta crear en sintonia con los valores de la culturamenemista. El dato que Pierre Restany (creador de laacepcin) no tuvo en cuenta es que estas obras comenzaron aproducirse por 1985/86, un lustro antes del recorte de patillas.

Poco antes de Algunos Artistas, Jorge Lopez Anaya lanza el

trmino light como apretado denominador de lasproducciones de un grupo de estos creadores. Pero ste,

rpidamente, comenz a ser utilizado en forma peyorativa,

incluso reprobatoria. Sobre la matriz dilemtica light/no light

(que podriamos traducir como liviano versus pesado ocargado) se fund() una empresa redentora que predicO para elarte la nobleza de sus funciones. Nuestras ideas y valores hacen

de la contemplacin esttica un acto tribunalicio, y la belleza

puede ser acusada de ejercicio frivolo, y hasta de complicidad.Una ancdota menor por su fugacidad histrica quizs, si

se me permite, sirva para clarificar este debate en torno al arte

de los noventa. La perspicaz adicin del trmino " rosa " al

monosilabo anglosajn volvie) al panorama ms complejo yacabado.

Rosa es un color de ensueo. Rosa bombn aunque losbombones sean de color marrOn. Pequetias dulzuras para

Y para la mujer - la de nuestros sueos, o bien la secretaria ensu dia una cajita de bombones y un ramo de rosas. Con qutrivialidades se contenta tanta gente Sentimental e intimo,

imposture: some consistency must lie within which should

be brought to light. The enzymes of knowledge werearoused, launched to their digestive action and rejoiced overtheir nutrients. It was said that a group of artists hadappeared, who were willing to fool around in theunderworld of Kitsch, and whose ingenuity led them to

practice everything with levity. Some declared that this

behavior turned them into "Guarangos" : people who like

to create in harmony with the values of menemist culture.

The fact that Pierre Restany (who coined this meaning forthe term) did not take into account was that the productionof this work started in 1985/1986, about half a decadebefore Menem became president.

Some time before the exhibit of SOME ARTISTS, arthistorian Jorge Lpez Anaya cast the term "light" todesignate the work of some of these artists. But people soon

started using this word pejoratively and even withcontempt. On this dilemmatic matrix "light/not light"

(which could be considered light versus heavy or loaded)arose a redeeming enterprise that preached for the nobility

of art based on its functions. Our ideas and values make of

aesthetic contemplation an act of judgement, and beauty canbe accused of frivolity, and even of complicity.

A minor anecdote, might, if 1 may, help us understand the

debate surrounding art in the 90's. The addition of theaccurate term "pink" to the anglosaxon monosyllable

clarified the panorama.

Pink is a daydream colour. Pink chocolates, althoughchocolates are brown. Candies for children. And for the

woman the one of our dreams, or the secretary on her day a

box of chocolates and a bunch of roses. How easily people are

- -

nios.

!

.

9


al abrigo de las temperaturas del mundo, el rosa se ha visto

proscripto de banderas y blasones. Ajeno a las contingencias,cursi y vulgar, carece de pudor. Regodeado en su pequefio

dominio, tampoco pretende otra dimensin que la del

momento perfumado, la breve embriaguez.

Y asi es como rosa resulta, en resumen, el color maricn por

excelencia. Durante los ltimos siglos, y en torno alestablecimiento de las naciones en occidente, la figura del

sodomita ha estado asociada a la del traidor. Dbil, cobarde,

sin sustancia, maricn es el que rehuye del deber ser, el que

desestima lo a el destinado. Lo desaprovechado. Se dice del

maricn que es un "desperdicio".

No pocos fueron quienes salieron en defensa las metforas

bacteriolgico-militares certifican toda cruzada - del

despreciado desperdicio, hallndole de gran utilidad.Apologistas y detractores fueron a escena esgrimiendo los

mismos argumentos, comulgando un mismo credo. Aquel

que intenta hacer del arte un objeto fiable, preciso en susfines. Todo se dirimia en torno a si estos artistas daban cuenta

de su contexto, "interpelaban" la realidad, o si por el contrario,

carecian de voluntad critica, eludiendo los compromisos

asignados al artista frente a las vicisitudes de la especie.

Desoyndolos, ignorando sus silencios, algunos sostuvieron

que estos artistas light de light no tenian nada. Una refinada

estrategia los redimia. Bajo sus rosaceos camuflajes, conastucia contrabandista, estarian inoculando sus virilesmensajes, feroces, criticos.En guardia contra la necesaria innecesariedad de lo artistico,

la presuncin de un contenido para toda obra se transforma

en garante de sentido. Por qu el pavor de que las cosas tan

solo sean ? ("el arte, lo sagrado, se escurre de las pretensiones,

kept happy!. Sentimental and intimate, sheltered from the

heat of the world, pink has been banned from flags and

coats of arms. Detached from contingencies, gaudy andvulgar, it lacks decor. Delighted in its small domain it does

not seek other dimensions than those of the perfumedmoment and the brevity of its drunken ectasy.

And this is how "pink" turns out to be, in short, the faggot

colour par excellence. During the last centuries, while the

western nations were being established, the figure of the

sodomite has been associated with that of the traitor. Weak,

cowardly, without substance, the faggot is the one who

shrinks from his duty to be, who does not appreciate what

has been destined for him . What is not profited from. The

homosexual is said to be a "waste". Many came out in defence

the bacteriological-military metaphores certify everycrusade of the despised waste, discoVering its usefulness.

Advocates and slanderers on both sides came on the scene,

wielding the same arguments, sharing the same beliefs. That

which intends to make of art a reliable object, precise in itsends. The whole question was if these artists gave an account

of their social context, if they "questioned" reality, or if, on

the contrary they did not have a critical will; eluding the

obligation assigned to the artist in the face of the vicissitudes

of the species. Not listening, ignoring their silence, some held

that these "light" artists weren't light at all. A refined strategy

redeemed them. Under their rosy camouflage, with the

cunning of a smuggler, they were preparing the injection oftheir virile, ferocious and critical messages. On guard against

the necessary unnecessariness of the artistic, the

presumption of content for every work becomes a guarantee

of meaning. Why the fear that things only be? ("art, the

10


adolece de fugacidad, se instala donde no se lo nombra". 2)En soberbia epopeya, cosas que eran cualquier cosa pasaron

a engrosar los dominios del artc: han recibido su bautizo

taxonmico y ahora se nos ofrecen rducientes en losanaqueles de nuestro saber. Honoris causa para las grafias

paleoliticas y las imgenes digitalizadas, el art brut y los

bordados del otro genero. Ante la precariedad de sus

"limites", y la fatigante renovacin de su consenso, nada ms

tranquilizante que atarlo todo al carro de la historia. El arte

es asi pergeado como precioso documento de poca. Pero

regodearse en esta evidencia tonta es banalizarlo. Qu lodiferenciaria de los hbitos alimentarios, la vestimenta o la

historia de la higiene para ayudar a la comprensin delespiritu de su tiempo? Prisma magistral y didctico, artefacto

sintomtico y proyectivo, para certificarnos de su nobleza el

contenido, los buenos propsitos el arte debe sercomunicable. Las demandas del saber sobre el arte han

provocado que una estrategia publicitaria se instate en la

genesis de un sinraimero de producciones esteticas.

Sin el menor asombro, juiciosos y atentos, escuchamos comomuchos artistas logran dar cuenta de lo que hacen conprecisin y economia envidiables. Lejos estamos de la angustiay desesperacin ( o la dicha y el remanso de otrora). Hoy, lavisita al mundo del arte comienza a menudo con un prembulo:

"la idea es..." . Ya no ms deambular ignorante: "trabajo" !( Rimbaud decia que el poeta no trabaja). Las palabras no soninocentes. Recorramos un tanto ms este llamativo lexico:

abundan las "reflexiones", toda close de "hiptesie. Los artistas

hoy "discuten conceptos", "confrontan conceptos", "plantean",

"conjeturan", "indagan", "explicitan", "advierten"...Por que esta insistencia en reducir lo artistico a una

sacred, slips away from pretensions, suffers from flightness,

it settles where it is not named".2 ) In a naughty epics, thingsthat had no meaning become part of the dominion of art:

they have received their taxonomic baptism and now shine

on shelves of knowledge. Honoris causa to Stoneage

paintings and digitalized images, art brut and theembroideries of the other genre. In the face of its uncertain

limits, and the fatiguing renovation of its consensus, nothing

is more tranquilizing than to tie all art to the chariot of

history. Art is thus arranged as a precious document of the

times. But to delight in this foolish evidence is to trivialize

it. What would distinguish art from eating habits, clothing,

or the history of hygiene to help us to understand the spirit

of its time? Authoritative and didactic prism, symptomatic

and projective artifact, to certify its nobility its contents,its good intentions art must be communicable. Thedemands of knowledge on art have caused an advertising

strategy to be established at the genesis of numerousaesthetic productions.

Unamazed, sensible and attentive, we listen to many artists who

manage to give us an account of what they do with enviable

precision and economy. We are far from the anguish and

desperation (or the happiness and the placid retreats) of old times.Today a visit to the world of art often begins with the preamble: "the

idea is...". No more wandering in ignorance: "work% (Rimbaudsaid that the poet does not work.) Words are not innocent. Let usgo over this interesting lexicon: there is an abundance of

"thoughts", different types of "hyphoteses". Artists today "discuss

concepts", "confront concepts", "outline", "conjecture","inquire", "warn Why this insistence on reducing the

artistic to a sensible activity, intelligent and alert? Aren't we mista-

11

activi-


dad sensata inteligente y alerta? No lo estaremosconfundiendo todo con una agencia de consulta para el

estudio y la comprensi6n del mundo contemporneo? Todo

parece daro y carente de misterio. Basta con visitar esas

megamuestras donde los artistas convocados "ilustran" ,

"interpretan" o "traducen" las simplonas hiptesis de un

curador. Que provechoso resulta visitar galerias ycomprender al fin lo que el arte significa ! Qu"consolatorio" saberse participe de asuntos tan elevados,

convalidar nuestras creencias!. Ilya Prigogine (premio Nobelde quimica 1977) opina en cambio, que hemos llegado a "elfin de las certidumbres". Los desarrollos de la fisicasubatOmica asi como de la cosmologia de los agujeros negrosnos conducen a un nuevo paradigma de las ciencias, de

nuestra posibilidad de conocer. Desde las ms duras, las ms

"cientificas" de nuestras disciplinas del saber, el modo en que

occidente ha venido pensando el mundo y la vida se ve

colapsar.

Fritjof Capra ha escrito un libro encantador: El Tao de laFisica. Al li sefiala: "lo que nosotros vemos u oimos, no son

nunca los fenmenos en si (...) a medida que penetramos cadavez ms profundamente en la naturaleza, tenemos queabandonar tambin cada vez ms las imgenes y los conceptos

de nuestro lenguaje" 3 Frente a las ansiedades que estoscambios desatan, el furor racionalista acude con sus blsamos.

El orden del discurso reduce las singularidades a la planicie de

los gneros. " La mayoria de los fenmenos del universo no es

tan adscribible a modelos estables, como ms bien a lainestabilidad (...) las disciplinas humanisticas, al contrario quela "nueva ciencia", no se percatan mucho de ello".4

Habia en la Grecia antigua junto a Cronos, otro dios que

king art for an endeavor for the study and understanding of

the contemporary world? Everything seems to be so clear

and lacking in mystery . It is enough with a visit to one of

those mega-shows where the summoned artists "illustrate",

"interpret" or "translate" the simple hyphoteses of a curator.

How enriching to visit galleries and understand at last the

significance of art! How "comforting" to know we play a

part in such elevated matters, confirm our beliefs! Ilya

Prigogine (Nobel Prize for Chemistry, 1977) says that wehave come to "the end of certanties". The development of

subatomic physics, and the cosmology of the black holes lead

us to a new paradigm of science and of our own possibilities

of learning. From the most extreme, the most "scientific" of

our disciplines of knowledge, the way the Western World

has thought the Universe and life is starting to collapse.

Fritjof Capra has written a delightful book The Tao ofPhysics, in which he points out that: " what we see or hear,

are never the phenomena themselves (...) as we dig deeperand deePer into Nature, we have to abandon the images and

concepts of our language")In the face of the anxiety that these changes unleash, the

rationalist furor comes with its balsams.

The order of discourse reduces singularities to the ground

of the genres. "The majority of the phenomena of theuniverse are not easily ascribed to stable models, but rather

to instability (...) the humanities, as opposed to 'new science', are not aware of this ."4

There was in ancient Greece, together with Cronos, another

god whose image would in time be eclipsed. Unlike Cronos

with his linear and balanced gait, Kayros was occupied with

12


resultaria opacado. A diferencia de aquel con su andar lineal

y equilibrado, a Kairs lo ocupaba la suspensin del tiempo.

Atli donde uno se abandona, se extravia ( " el mundo semueve sin ningOn sentido del tiempo") 5. Es en esasuspensin, ese tiempo sin limites donde nos frecuenta la

belleza. ( " esta existencia es un gran vacio y esa es su belleze 6).

El movimiento del arte es la fuga. Conceptos tales como

"verdad " o "realidad" le son extra-1os porque todo arte es

ficcin. Narraciones renovadas de las fbulas que resuenan en

nuestro ser. ("las artes hablan de la obstinacin de loimpenetrable, de lo absolutamente ajeno a nosotros con loque tropezamos en el laberinto de la intimidad"7). Es esehacer, ese obrar insensato que nos sostiene. Un exceso sin

trmino, infinito y fulgurante.

Que el arte como la vida, no conduzca a ninguna parte es larazn de nuestra libertad, la posibilidad de nuestra salvacin.

("Acaso tienes alguna lgica para decir por qu estas aqui?" 8).Con la fosforescencia del rapto nos vacia de entendimiento.

Como en los rumores hipriticos de un Koan, la lgica del

pensamiento se suspende. Nuestras razones se ven

embargadas. ("En el punto quieto, he ahi la danza"9).Pero, clue sucede cuando la verborragia acadmicoperiodistica se topa con estas obras extraviadas de su confort

nomenclador, con aquello que floreci ignorante, sordo a sus

demandas y sobornos? Si algan artista nos expone a su

belleza desatada, las migraciones de su emocin, diremos que

se ha entregado al ejercicio de lo irnico. Y hasta de lo cinico.Chino pensar que pueden ellos hallar bellas esas cosas? La

presuncin de un goce al que no accedemos nos irrita y perturba.

Como en el caso de los nios o los animos femeninos, como

the suspension of time. There where one abandons himself

and gets lost. ("The world moves without any sense of time." 5)It is that suspension, that time without limits, where beauty

visits us ("This existence is a great emptiness and that is herbeauty"6).

The movement of art is a flight. Concepts such as "truth" or

"reality" do not belong to it because all art is fiction.Renewed narrations of the fables resound in our being.("The arts speak of the obstinacy of the impenetrable, of thatwhich is absolutely alien to us and on which we stumble in

the labyrinth of intimacy"7). It is that Making, that senselesseffort which sustains us in senselessness. An excess without

end, infinite and radiant. That art and life lead us nowhere

is the reason of our liberty, the possibility of our salvation.

("Do you by chance have any logic to say why you arehere!"). With the phosphorescence of abduction it emptiesus of understanding. Like in the hypnotic rumours of a koan,

the logic of thought is suspended. Our reasons are seized.

("At the still point, there the dance is"9).But what happens when the journalisticacademic verbositybumps into these works lost from the comforts ofnomenclature, with that which blossomed ignorant, deaf to

their demands and bribes? If an artist exposes to us hislashing beauty, the migrations of his emotion, it will be said

that he has surrendered to the ironic. And even the cynical.

How can we think that they can find beauty in those things?

The presumption of the existence of a pleasure out of our

reach irritates and disturbs us. As with children, or with the

feminine spirit, or with those maddened lives, or of those close

to their end, instability, the fancy of the being turns itself

13


las vidas enloquecidas o cercanas a su partida, la inestabilidad,

el capricho del ser torna poco confiable y digno aquello que

no precipita en enunciado coherente. No saben lo que dicen.

(Y es que la belleza no se sabe). Por que no pensar que esosespacios dislocados son la ocasin para lo sagrado que el arte

nos reserva?

Esta claro que los artistas aqui presentes no hacen pintura

taosta. Gran cantidad de ellos no manifiesta especial interes en

el misticismo oriental tampoco. Desconocen los misterios del

vacio que anima al universo, y los mtodos para ejemplificarhip6tesis de cualquier clase.

Aunque todos ellos han pasado por el Rojas, tampoco, ensentido estricto es esto una antologia de la historia de la galeria.

Tao es el camino. Es tambin el modo. Y lo relativo como

absoluto. He aqui el vrtice de aquel modelo curatorial

domestico, esa coartada de coleccionista pobre y antojadizo,mi Tao. Una deriva por la que me condujeron los cantos desirena de estos artistas.

Gumier Maier

Notas:

1. Kakuzo, Okakura. El Libra del Te. Ed. Mundonuevo, Bs, As.,1961.2. Gumier Maier, Jorge. "Avatares del Arte " Hoja del Rojas, junio,Bs. As., 1989.3. Capra, Fritjof. El Tao de la Fisica. Ed. Luis Crcamo, Barcelona,1984,4. Calabrese, Omar. La Era Neobarroca. Ed. Ctedra, Col. Signo eImagen, 1994.5. Prigogine, Ilya. El Nacimiento del Tiempo. Tusquets Editores,Col. Metatemas. Barcelona, 1991.6. Osho. Tao. Los Tres Tesoros. Ed. Mutar, Bs. As., 1990.7. Steiner, George. Presencias Rea les. Ediciones Destino, Barcelona,1991.8. Osho. Idem.9. Eliot, T. S. Cuatro Cuartetos.

into something unworthy and unreliable, that which cannot

be made into coherent statements. They do not know what

they are saying (and it is that "beauty is not known"). Whynot think that those dislocated spaces are the occasion for

the sacred which art holds for us?

It is clear that the artists in this exhibition do not produce

Taoist painting. Many of them have no special interest in

Eastern mysticism either. They don "t know the mysteries of

the emptiness which gives life to the world; and they refuse

to exemplify any kind of hypothesis.

Even though all of them have exhibited at the Rojas, this isnot, strictly speaking, intended to be an anthology of the

history of the gallery. Tao is the road. It is also the way and

the relative as absolute. Here is the vortex of that domestic

model, the alibi of a poor, whimsical Collector. My Tao in

which I drift guided by the mermaids' song of these artists.

Gumier Maier

Footnotes:

1. Kakuzo, Okakura. The Book of Tea. Fox Duffield and Co., NewYork, 1906.2. Gumier Maier. Jorge. "Avatares del Arte " Hoja del Rojas, june,Bs. As., 1989.3, Capra, Fritjof. The Tao of Physics. Ed. Luis Carcamo, Barcelona,1975.4. Calabrese, Omar. La Era Neobarroca. Ed. Ctedra, Col. Signo eImagen, 1994.5. Prigogine, Ilya. La Nascita del Tempo. Edizioni Theoria s.r.I.,RomaNapoles, 1988.6. Osho. Tao. The Three Treasures. Ed. Mutar, Bs. As., 1990.7. Steiner, George. Real Presences. Ed. Destino, Barcelona, 1991.8. Osho. Idem.9. Eliot, T. S. Four Quartets.

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