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years ask questions and years That answer. By Guest Blogger Loris S. Simon




The Gallery Sonja Roesch and the Consulate General of Mexico

*, under the framework of the bicentennial celebrations, organized the exhibition Artist Aldo Chaparro

titled More Than This and open to the public until 30 October. I had the opportunity to talk with the artist who based his work under the influence of popular music, the need to incorporate other disciplines into their art and the concept of memory of Bergson. Through various means, Chaparro references to the past meets present and future as well as the media world in a present that coexist simultaneously. Literal, Latin American Voices published in its Winter issue, an article on the artist.
Rose Mary Salum: can say that your work has influenced the concept of Bergson's memory. Could you explain how you came to him and why he has represented an important element in your work? Aldo Chaparro: memory for him that is vital to revive a past event in unique originality, is the core of our being. Bergson to study memory begins by studying the organic materials that are capable of some aspects pristine having been altered, such as a rubber ball in my text pieces attempt to recreate this reaction so that the letter recognize a song (never use lyrics that are not very popular) music evokes and refers to a time, location or time, with the effectiveness that only has the music and then the rubber ball we are, returning to our way past.

RMS: have explored various disciplines that manage to reconcile your language to give a new meaning. Why is this necessary? Is it true that the visual language runs low? Many artists have already experienced and then leaving the canvas.

ACH: seems to me that the most interesting ever occurs in the periphery, in areas where the boundaries between disciplines become blurred, this is an issue closely related to our contemporary, young people do not interest categories. If you ask them to do they're going to answer that a little music, skate, have a magazine or paint, unlike previous generations where the value was in specialization. Now nobody seems to care about the title creador.Otra artist or musician thing that has begun to exhaust is the craze for originality, new generations have pretty well digested the lessons of postmodernism on ownership, authorship or originality


RMS:
Music is an element fundamental at work. In his ability to transcend does it affect the perception of the notes?
ACH:
I want to reach the audience through different channels. Music is a powerful tool to evoke memories, to define ourselves as a group or generation. Some of my pieces that work with excerpts of songs generated a double meaning in the observer, a kind of kinesthetic effect. Can, to remember the song, listen to music in his head and at the same time have a full set of volumetric and spatial experiences, I am interested in these crosses, crosses between senses and disciplines
RMS: And despite being music an essential element, text, and the reconciliation of its visuals and content is also important.

ACH: There is much wisdom in the lyrics of songs that I often think that not being utilized. When the sack from their original context (usually amorous or romantic) took a completely new dimension, generally seem reflections of the work process itself, confessions or concerns and in some cases is the work being self-referential, as in one of my favorite pieces, a text that says "I'd be Surprisingly Good for You".


RMS: Could you tell us about
on creative engines exploded and influenced your work for your next exhibition at the Gallery Sonja Roesch? ACH: are the same questions I always do on my job and my condition, the processes in sculpture and my relationship with space and materials. For me, every show is an exercise similar to that of an editor (I worked for a long time publishing books and magazines) where I am polishing and improving relations between materials and speeches in my own work. I like to observe the friction generated by my speech and my questions in different contexts.

RMS: Despite being a trite question, it's always very interesting to know the future prospects of an artist. What do you plan for the future?

ACH: Returning to Mexico I have an exhibition at the gallery OMR in November. The title of the exhibit is an excerpt from a Nina Simone song that says: When an Unstoppable Force Meets an Immovable Object, a paradox on two extreme positions that I use as a starting point for my questions.
* This event was part Houston Series Celebrates Mexico 2010 in celebration of the Bicentennial of Independence, sponsored by Bank of America, an institution that has supported this series of events coordinated by the Consulate General of Mexico in collaboration with arts and cultural organizations of the city.