hernan marina


Gainza, María. “El cuerpo del delito”. Radar, Página 12, Agosto 2004  ESP

Gainza, María. “Corpus delicti”. Radar, Página12.  Agosto 2004 ENG

Braga Menénez, Florencia: “Nostalgia de lo heroico y desesperación”.  2004 ESP

Braga Menéndez, Florencia: “Desperation and Nostalgia for Heroism”, 2004 ENG

Montornes, Frederic.  Texto catálogo muestra “Silencio” (Nueveochenta, Bogotá, 2007) ESP

Montornes, Frederic.  “Self-absorbed silhouettes”.  Catalog Nueveochenta. ENG

Taricco, Clelia: Men’s Health.   (Catálogo/catalog) Museo de Arte Moderno, Buenos Aires (2003) ESP

Marina, Hernán: "Breve historia de un coloso", Catálogo exhibición Malba (2004) ESP





It is curious, to say the least, that amidst the maelstrom of images in movement and interminable sound that incessantly arrive from every corner of the world and art’s every last hideout that someone might exist who, as if inadvertently, decides to bring such velocity to a standstill and deafen what is sometimes identified as acoustic contamination. Furthermore, when it is not just one person, but many people who opt for this path, what could easily be associated with a clearly anti-social personal decision becomes an option for analyzing reality, or at least one aspect of it that is just as legitimate as any other.

While in the traditional world solitude used to be associated with the intimate act of reading and writing, with the advent of the Modern era’s multitudes—enormous masses of anonymous beings—some of the underpinnings for enjoying a right that had been non-existent prior to that point were established. Hidden or camouflaged in the anonymity of the throng, from then on it was hardly difficult to become aware of just how alone one was. Then, with the arrival of ultra-modernity and the era of the individual par excellence, what had been recognized as the right to intimacy—and was even motive for celebration among its most fervent advocates—gradually became a situation that was, in some cases, imposed. As such, the solitude that had been so vindicated in other eras went on to become an invisible set of bars that would slowly but surely isolate individuals.

Some of the consequences of this new solitude that continue to hang in the air in our times and that have left their mark in numerous artistic expressions might include hedonism, introspection and Narcissism: three possibilities for shutting one’s self off from the outside to search within a sea of doubts for the identity that supposedly pertains to us. It is a search that, on the other hand, winds up being a practically interminable task due to the changeability and constant transformation experienced by any individual who takes on the challenge.

With the gradual disappearance of happy or desperate endings in film, video clips have seen an intrusion of incomprehensible misfits, first-person accounts and intimate diaries of photographic genres, in addition to the appearance of the absurd in artistic narratives, an increase in melancholy advertising spots or an exaltation of sadness as one of the most interesting human poses. It would seem that contemporary creation is dedicating itself to the new solitude with what would be in grammatical terms an ellipsis: a state of transit or suspended action condemned to await the arrival of someone who might complete the unfinished.

Through the use of different characters’ silhouettes, condemned ad eternum to the routine of a particular exercise that appears to viewers as the paradigmatic essence of self-absorption and solitude, Hernán Marina sends us on the trail of what might be one possible ending: alienation as a state of no return. In other words, another ellipsis condemned to perpetuate itself by way of repetition, in an invariable line of bodies that are almost always perfect, endlessly chained to obligatory exercise, a freefall into the void between two non-existent points and the recreation of unblemished scenarios where any representation of our contemporary tragedy would seem almost impossible.

Unable to locate each fragment within the ideal parameters of a beginning and an ending—and in such a way that they are contemplated as visual narratives—the sequences of movement that Marina works with bring Muybridge’s inventions to mind and they are shown to us as isolated notes along the assumed limits of a mural-size pentagram. It is the silent music of an isolated reality, condemned to remain alone within the limits of the self.

Lost amidst the infinite lines of a self-absorbed silhouette.



Frederic Montornés
Sitges, 2004


Frederic Montornés is Curator at the Centre Santa Mónica (Barcelona).  He is currently curator of the upcoming Bienal de Sitges (2007). He has curated exhibitions at the Palau de la Virreina (Barcelona) and co-curated Espai 13, held by the Fundación Miró (Barcelona).


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