Jorge Sato’s exhibition in CA2M is cryptic and conceptually not suitable for all audiences. When you think about a global sense, you get away even more. The confusion effect is sought by the author and is implicit in the title: in the ‘estuary’ the limits are blurred. The works gathered place the focus on the context; The experiences, details and narratives generated in a site prevail over an idea. «My work consists in regulating the distances between the elements involved in the process of creating». Standard related noticies if criticism of: ‘Pájaro Machine Dream’, in the Macba: to the second, the defeated of Teresa Solar Abboud Isabel Lázaro Standard Standard If the gifts of the exile of Santiago Sierra and Sol Calero in the CA2M Fernando Castro Flórezno there are posters, the explanation of the pieces (not of all) is read in a drop -down. Something helps, but it falls short, so I propose seven guide points. 1.- The artist produces works in relation to a place already linked: ‘Sometimes I use images that can be shameful for me, my family and my friends’ consists of an architecture made with ‘playboy’ magazines and drawings of what happens Inside: some mice have sex and market using human hands as a currency. The title is inspired by a piece of David Ireland, an artist to whom the house converted in the art center where this piece of satorre was exposed. 2.- This combines minor stories and puts them to dialogue: in ‘ruin the tiles’ part of three: the memory of the traces of a feline and a bird in the pavement of the house of Hernán Cortés; A dispute between vultures and dogs next to a ceramic workshop and an appointment by historian Carlo Ginzburg that points to the trail of an animal as the first example of narration. The result materializes in mud tiles where a couple of wild boars and a dog marked their traces. Due to an error in cooking, the pieces cracked without obtaining a functional surface. 3.- The sculptures acquire a utilitarian value. The evil soil of the previous piece becomes the current steel gates that allow to create different spaces within the exhibition. In ‘triplay’, potatoes and aluminum bananas serve as doors. In the images, details of the assembly of Satorre in Ca2m Sue Ponce4.- Mix erotic drawings with others of the representation of its artistic processes. In ‘Dead animals (drawings)’ moments of the persecution of two wolves are interspersed to a sheep with scenes of the artist and his partner practicing sex in the hotel where they stayed during the project. 5.- Ideas in the same work are transformed, diluting their initial memory. In ‘Black jacket, gray sweatshirt (drawings)’, the speech starts from a ritual practice that melts iron fragments and uses the water where they cool to extract their history; On the other hand, its beneficial effects counteract the harmful of the Bucariahia of the XVII; The eroticization of both practices ends up expressing itself in vegetation scenes of the Chapultepec Park mixed with bodies of couples that frequented it. 6.- It resorts to technical and conceptual sophistications to emphasize the value of the insignificant. In ‘Ricardo (drawing)’, he copy the details of an industrial machinery, and in ‘Hachita’, performs replicas of a Basque ax and invests the masses of each piece, causing the small piece to become the large one and vice versa. Jorge SATORRE ‘RÍA’. CA2M. Móstoles (Mádrid). Avda. Constitution, 23. Commissioners: latitudes. Until August 31. Two stars. 7. – You can forget all of the above, embrace the certainty of a ‘reflective’ work and enjoy the author’s drawing and artisan expertise.
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