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moby dick

damián ortega
kurimanzutto
march 25, 2004
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moby dick, kurimanzutto, mexico city, 2004

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moby dick, kurimanzutto, mexico city, 2004

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moby dick, kurimanzutto, mexico city, 2004

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moby dick, kurimanzutto, mexico city, 2004

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moby dick, kurimanzutto, mexico city, 2004

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moby dick, kurimanzutto, mexico city, 2004

image

moby dick, kurimanzutto, mexico city, 2004

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moby dick, kurimanzutto, mexico city, 2004

The study of mythologies shows a sense of unity flowing through the cultural history of humanity: the flood, the theft of fire, the return of the hero, are all myths that appear worldwide. In this project, Damián Ortega seems to find a historical continuum in his vision of contemporary mythology, the quest for cosmic identity, and how this manifests in human cultural expression.


Ortega’s work draws a mythical cartoon, a domestic odyssey where heroism is found in a banal act, like that of starting the car downhill in second gear. The piece presents a ceremonial hunting, located inside a pseudopaleolithic cavern. A sacred experience charged by the hour or hourly fraction. And a 100 pesos penalty for lost ticket.


Music has always appeared in myth, as that of the beat of the drums being the vehicle for the transportation of souls. Improvisation as an experience in sound, as well as a pagan ritual. 

 

Moby Dick is a homage to John Bonham and Led Zeppelin.

 

Energetic heritage is held together by lines and pulleys, running from the first Adam to our very days. The iron will to tame and domesticate beasts will now manifest in a bodily combat against a vigorous 1600 beetle (road tax payed and pollution control stamped).

 

Tugging and wrestling are the means, the obstinate rigour that have covered our hands with rubber and leather, and invented as many rules and tools as there are words.


Now we have courage in the knife but not in our blood. 

 

Friction, tension and containment are the components of this work, a series of physical and technical phenomenae, like taking the foot off the clutch, releasing the brake and accelerating. Then, sedating and neutralizing the wheels with Roshfrans grease.


(Think of trimming the horns of a bull a bit, so that perception of distance is lost).

 

Although in many natural objects, whiteness amounts beauty -as if giving the essential virtues of marble, Japanese camellias or pearls- we have not worked out the enigma of this whiteness yet. We have neither learned why it attracts the soul with such power, being a symbol loaded with spirituality, and one which potentiates the intensity to repel and frighten humanity away.


A white shark, tiger or bull have been interpreted in mythology as demoniac animals. 

 

He who grips the reins will face something already lived through: rope will acknowledge the glove, the hand will come to life when metal does and, without nostalgia whatsoever, will feel the basic instincts crawling to bring the prey back home, pasteurized and packaged.


Grease, wax, a corset and some fillets to be bread-crumbed.
Another sales Wednesday.
At La Comercial.

 

Damián Ortega