MABEL POBLET:  CONSCIOUSNESS, TENSION AND LONGING

MABEL POBLET: CONSCIOUSNESS, TENSION AND LONGING

Text published in the catalog

MABEL POBLET. CUANDO LE HABLO AL OTRO LE CONVOCO.

Madrid-Caracas: Galería Odalys, 2022.

 

 

MABEL POBLET:  CONSCIOUSNESS, TENSION AND LONGING

ALFONSO DE LA TORRE 

 

(…) the idea that understanding consists in imagining the fact.

Ludwig Wittgenstein[1]

Thus, the public can walk on clouds while discovering their reflection in the firmament.

Mabel Poblet[2]

Exercising a true search that, being artistic, refers to a knowledge capable of breaking perceived truths, I remembered another thinking artist: When she works, Mabel Poblet (Cienfuegos, Cuba, 1986) seems to be listening[3].   In such a way that his creative corpus is established by inverting that knowledge, and rather than the pure expression of images, her work grows as if a slow liberation of those images were taking place.  This happens through the development of a careful transition of intertwining processes, —perhaps we are obliged to evoke it again— her work is expressed in the form of an “advance in the twilight in multiple directions”[4].   Poblet is the artist of an extremely complex work produced through a process of minimal transitions, often series that are embedded in each other to build a personal and extensive album furrowed by common nerves.   Her creations are bearers of a beauty that does not exclude a deep slowness, like those who evoke the possibility that creating and wandering, walking or diverging, gift and wandering, are close to each other.

It is well known that her creation comprises a permanent inquiry into different artistic practices —collage and assemblage, photography, light box, sculpture or video art permanent inquiry of different artistic practices— along with performances or site-specific setups, all exercised from a very contemporary radicality.  In the past, there was the encounter of different techniques in the same work, up to what we could call immersive site-specific. Combining procedures that will allow her to produce tension that, being compositional, articulated through diverse artistic means, is, before anything else, the product of the exercise of a consciousness that, I dare to write, is always (always, I emphasize) resonant consciousness.  Let us consider that we are in front of a work that emerges from a moved self, that invites us to the beauty of the encounter with a mysterious territory, expanded to a limit between the realm of the existing and the unnamable. What we see is important in her work, but also that which is silenced and trembles, that which is left unsaid, that which is absent, the trembling of the complex inexpressible.

This exercise of that inexcusable and trembling self does not prevent Poblet from being plural, —self and world, to put it in other apt words[5]— or us from contemplating in her work the encounter between deep personal reflection and the exercise of a joyful public art as a change of breath, I am thinking of works like her recent, beautiful “Genesis” (2020) or “Whisper” and “The Scream” (2019).    Also the very beautiful “Jungle”, almost immersive environment, produced in the context of the XIII Havana Biennial (2019)[6].   This term, environment, is justified because Poblet has frequented the use of suspended elements occupying or interacting in space, evoking here the almost homonymous “Surround Space” (2019)[7] of the DA2 Salamanca or “Marea Alta” (2015) reverberant and profound.  Poblet has been a frequentweaver of suspended works that seem to demand —narration, quicksilver and illusion— the encounter between space and contemplation, in such a way that the viewer is willing to share the speculation and the journey through formal events: the existing and its illusionary reflection.  That is, that the silence of contemplation allows her to pursue her own formal investigations beyond the space of the work, a participant in them.   As if in order to make sense, Poblet disintegrated sense itself into multiple senses converted into flashes of the first one.

But Poblet describes the strangeness and restlessness of the world (while, below, the void), and looks deep, inward, sometimes as if from dreams, wondering in the complexity of her creations about the very act of seeing, about a mysterious spirit wandering in space. Thus, they can be universes that erect landscapes or reveries, spatial illusions, fantastic trips, introspective atmospheres (although immersed in the complexity of the surrounding world), but also allegories that tell the story of a mysterious energy that is released among the images.  With a hypnotic air, many of her creations have to do with the construction, almost the appearance and presence, of such images, sustaining how the corpus of her work is also an experience of thought.   Poblet thus creates, from that painful wandering populated by images, with intense emotions, without distraction, rejecting conventional interpretations of the world, presenting her work almost as a serial-like corpus, a sort of complex diary of emotions that seems to have been conceived from a numinous territory of reserve.

Direct and allegorical, without abandoning mystery and estrangement like a poetic otherness, her exploration ends up referring to melancholy and desire, but also to the very limits of perception.    Generator of enigmas by means of questions from her memory and personal experience, somehow expanded as an immense register of that which is sensorial, thoughts and experiences, which become a story seemingly sustained in the deployment of authentic, very complex, interrogative machines of seeing[8], that our artist directs precisely towards an eminently critical perception of what is real, as a form of resistance and action before the world and, thus, to explaining to the one who contemplates, displacing him. Creation with a performative air, we the contemplators have to find the relationships or fill in the gaps, expand the questions (every question contains its own answer), like a narrative that shows a truth or its negation, the expression of a loss.

At this point, we should mention the agitated and lyricist environment “Scale of Value” (2014-2017), presented, with an air of shattered collage, merzbau of his homeland, at the 57th Venice Biennale (2017).   A work full of narrative. In it, in addition to the plastic elements of the work that was investigative and collective in wanting to understand the world, unfolds the story that can perhaps be described as a new proof of how the kingdom of Poblet is not exactly her official homeland[9].  Mobile artworks, sometimes by means of threads or suspended strips composed of fragments of images cut into different shapes, which can be combined with projections that compose a new visual structure, a threaded dimension, and bring us back to the winged visual lightness of that declarative “Writing in water” (2016), by John Cage[10] classically embodied in the art of our time by a Calder, Miró or Soto.   But make no mistake, being a world in suspension, Poblet’s setups are offerors (in the sense that they are not a mere visual speculation but also express ideas and, on many occasions, stories, evocations, thoughts or hopes).   I have written about how, in those environments, Poblet’s work could overlap with the suspended constructions of Katarzyna Kobro or Gego and the sound meshes of Maya Dunietz, with them our artist shares a lightness not exempt of tension, a return of the sculptural object from the ground towards the winged transparency of what, rising, like birds of the azure[11], is imagined cosmogonic.  Like a bath in a sea of knowledge.

Having to mention here her very beautiful work “Ephemeral” (2020)[12], all on the surface, representing energy —as the artist would say— connecting nature and the human being[13], which seems to be linked to “Around my world” (2019), created in Redwood City during one of her artist residencies in California[14], a harmonious site-specific in which I see an air of rêverie, composed of a set of pyramids, one of her favorite forms, specular pyramids grown in the reverie of the forest floor and organized in a spiral drawing that evokes —located “Around my world” in the shade of the forest, among those lights that give truth to the shadow— that humid, promising, melancholic Walden of Henry David Thoreau.   Another kingdom out of this world.

It is well known that some of her sculptures or installations become a declarative diary of her days, since Poblet exercises her creation as a diary (they are ideas but also memory, hopes and melancholy; malinconia perhaps —one ponders— of what was left behind: homeland, childhood or past times).  I am thinking of “From Below” or “Skyline” (2019) from her “Travel Diary” series, where she refers to the hectic life of forms and images but sharing a drift of thinking towards constituent elements: homeland or travel, storms and cities, nature or sea, memory of places and their longing, transit or fragility.  Moreover, her own body becomes the emblem that frequents a symbolic actionism, as if it tempted, while alone, to grow while finding herself, as it happens in performances such as the grammatical “Renuencia” (2019) or “Imago” (2016)[15] in the manner of a spiritualized carnality.    Here, I mention the moving beauty of “Anna” (2012)[16], whose transcript refers again to body and fluids, showing how Poblet has not only been an individual but also a shared memory.  So many times immersed in a way of thinking that —from the personal perspective, a transparency of those who frequent a language that, while in suspension, is no less full— flows towards the collective as an unrenounceable infinite conversation that we could enclose in “when I speak to others, I summon them”[17].

A hiatus of strangeness composes her work[18], that gaze to the exterior without neglecting the interior that Poblet constitutes as a territory conducive to the exercise of questions forming a corpus of strong self-referential imprint, as it happens in series like “Image, not words”, “Abacos” or “Place of origin” where the artist reveals herself, under various backgrounds. Also that limitless walk that I think could exemplify her mysterious piece “Silent Word” (2019)[19]. Poblet erects the poetry of the complex by exercising a fixation on beauty that does not dodge that sublime violence of that which is true, in the voice of Walter Benjamin, the wandering supreme of our time.   Through her work, Mabel Poblet moves to another dimension through a succession of effects of strangeness, like the proposal of a sensory journey where, having mentioned places or situations, the country of the perceptive prevails. An unknown place, because Poblet makes a formal inquiry that is always multiple, evolving and difficult to apprehend, as if her creations allow access to a depth produced at different levels, resulting in a work possessed by restlessness, where the proclamation remains that art, which lives in tension, is not only mere contemplation.

Contemplating some of Mabel Poblet’s works reproduced in this publication [under titles such as: “Before the Storm” (2021) or “Sky cities” (2021), belonging to “Diario de viaje” (2016-2022); “Efímera” (2020) and “Plegarias” (2022), from the set “Mi Otoño”; while “In Out” (2015), “Marea Alta” (2015)[20] and “Medusas” (2020), from her series “Patria” (2015-2020)] we could qualify these titles as cloistered statements, which emerge as scandalous flashes.  They are titles that seem to carry a declarative air, in such a way that their creation takes on the aspect of deferred islands of meaning that are related, while this does not prevent her from moving to the limit, escaping from certain concepts that have secularly traced the rictus of the history of art.  Referring to Blanchot, we can say that Poblet indirectly revisits the artistic thought of our time, while raising images that do not speak exclusively of formal reflections but, rather, are housed in a different region.  And thus, her true homeland are those suspended places, a “space that, appearing and disappearing, designate something like the shifting space of its appearance and disappearance”[21].

 

 

JOURNEY THROUGH UNCERTAINTY

(…) The idea that drives us mad with pain, cannot be torn from the soul, and all the efforts and detours of the mind to get rid of it, attract it to itself

 Paul Valéry[22].

 

Traveling between ephemerality and uncertainty, to stay or to disappear, Poblet is an inhabitant of a trembling space to which the dubious light where the day triumphs seems to feel favorable, as it happens in her “Before the Storm” (2021) announcing the vertigo of the falling night, perhaps fleeing from the fatal and vain solar clarity.  Or the lunar air and deep waters that narrate the video art work “Plegarias” (2017)[23], which works by stopping in various instants, like stills, of the narrative.   In the artist’s words, the sea, one of the symbols she frequents “in fragmented images, functions as a metaphor for the fragility and difficulties we may encounter in the transit from one place to another. Self-valuation and self-discovery are stimulated by the incorporation of the mirror. The viewer is continually tempted to unveil their own history, memories and experiences as they find themselves on the other side of these fragments and in the middle of a journey, either on the way there or on the way back”[24], adding also that “the mirror is the way (…) for the spectator not to appear as an outsider, but, on the contrary, to recognize themselves as part of these stories”[25]. And thus, the sea as a metaphor of the inapprehensible, illusion and memory, but also (back to the diary) of the journey itself, near-far, of its origin.[26]

But Poblet knows the immense power of light, that is why she reveals in her work a murmuring silence, like a nocturnal gift, hers is an inner experience returned to the world of images with an air of a display of apparitions. Exercises of the invisible, unspeakable, places erected as if they were sometimes lodged in the mystery of sleep. Formerly bordering on darkness, as if she thought that light could conceal meaning while the twilight is the place where things are given consciousness, perhaps this explains her surreal photographic assemblage “Insomnio” (2019)[27] as a symbol, but also as an exercise, of the necessary lucidity.    With a trembling air in the practice of such a suspension, as a seeker of images lost in the wasteland of the world, like a detachment from a subterranean universe, an unfilled abyss, Mabel Poblet tries to constitute the totality from the alterations caused by the fragmentary.  Behind this premise, also declarative, around my world as the aforementioned work says, there is a mark that seems to represent metonymically the life of the person who composed it.  Again, in her voice, she explains her desire to represent “that path that has no limits, of constant and somehow infinite growth (…) to connect those two levels that exist in parallel, but inescapably intertwined: heaven and earth (…) life can be a kind of spiral where one goes around in the same circle from each instant and moment. Autumn as a reflection of fading, a simile to the season characterized by the shedding of the leaves of the trees into the air. It represents the fragility of life, its ephemerality and instability. How a whole can fade away and become nothing. The defragmentation of bodies as a system of symbols representing conceptions in individual moods and forming a whole. The flowing energy and spirituality of individuals. The series continues with the artist’s constant search to represent the lightness of existence and her concern for the experiences of human beings”[28].

Even when her works refer to a visual aspect of rigorous construction, that frequent observation of the formally constructive subjected to a careful composition, Poblet does not avoid the complex and split nature of her flow, reiterating the experience of those incandescent moments that could be elevated again, perhaps, in the reconstruction of her photographic puzzles.  Explained with her words “I build installation works composed of fragments of photographs taken in the environments.  Photographs that are, at times, disassembled and reassembled and at others completely disassembled to form a new image. The resources of fragmentation and reiteration allude to the very fractioned and incomplete nature of individual memory, as well as to its complex dimension. On the other hand, the circular shape in some of the works in the series alludes to the iris, mimicking the ability to capture, through sight, the smallest details that can make our travels create a memorable and infinite experience”[29].  To some extent, for Poblet, the fragmentary decomposition of the images functions as a way of evoking memories and impressions, analyzing ideas as she exercises this work of the visible, like a destruction and successive construction or recomposition.  It is as if this form of expression —fragmentation— were the ideal way to refer to the discontinuity of the moments and these puzzles of atomized instants, an attempt to reconstruct the memory of someone who has moved away[30].

Poblet elevates her works by playing with new ways of looking, outside of the comings and goings of the limited that is the common way of seeing.   Facing other ways of expressing what is represented, fostering the growth of a place where her memory can always come back, is the restlessness of this artist in whom I see an oriental tone when contemplating in proximity some of her works in which we witness the narration of what we could call “micro-stories”, small stories scattered among the fragments, not forgetting that hers is an art that, although expressed through the presence of images, does not move away from the reflection between the encounter of that which is concentrated and that which is empty, the ineffable instant or the fullness of the gaze.      Her creations thus refer to the establishment of the decision to begin by resolving in an initial void, because she is capable of questioning the view that is then pushed into a drift that puts it in check.  It drifts towards those places that are out of place, homelands with the trace of tearing and estrangement, the present together with the (dis)illusion of that which is lost, homelands as promise and utopia, longing, places of pain or promise.   After all, remembering these links exercises the function of remembrance itself because —recalling another wandering, that of Paul Celan— to create while thinking of renewing a link, implies, after all, to renew it[31].  Perhaps this explains that beautiful and early work[32], the light box of the series “Lugar de origen” (2005), with slides of images of various places in the province of Cienfuegos, her documented homeland, with synonyms of the word “origin” on the images. This piece announced the subsequent trajectory capable of addressing the complexity of works that refer to the look, also the language and thought of art, even its deviation to adverse regions of such expression or thinking.  With her work, Mabel Poblet seemed to signify the necessary deviation from the real world in order to be able to talk about it and understand it.   Having also come across one of his works, “Silent word” (2019), I thought that Wittgenstein’s saying could be affirmed: she knows more than she can show, we also know that, in true creation, “the last thing must remain unsaid”[33].

Silence.

Mabel Poblet creates in a double direction, from the gaze towards representation, but also in the enjoyment of a radical discontinuity, as if her work were inhabited by a powerful force that is, in addition, compelling.  Territory of interruptions, metaphors of disappearance, questioning of the representation of the world around or the things that populate the places, but let us not forget that the complexity of her work is found in the language of art but also, so attractively, outside of it [34].

 

 

TRAVEL AND SELF-REFERENTIALITY

It is the way to and from a space inhabited only by our minds

Mabel Poblet[35]

Her works are imbued with a personal memory not exempt of a touching transcendent air, that self-referentiality that she likes to emphasize in conversations confirms how the journey may be one of the terms that best allows us to understand Poblet’s work: “The journey” —the artist explains— “whether mental, physical or virtual, is an inherent part of the human life experience. The trip for me has an obvious emotional implication. The registration of each space, person, smell, color, or sound becomes a necessity of the first order. However, although the pieces that make up this series are based on personal memory, I intend to activate sensations and correlations in each of the viewers around my own travel experiences. The journey, understood in its broad dimension, not only as the fact of getting to know new places, other people, but also connecting with different ways of experiencing the world, whether it is our daily life, is the driving force behind this series of pieces”[36].

Some of them are housed in the construction of compositions of a certain emotional kineticism affected by the conversion of the real into a transfigured space.  This will explain the example of works from the cycle “Patria” conceived by means of mechanical wheels set in motion, forests of photographic fragments that simulate oceans, structures that activate —in her words— perceptive games. These are some of the resources used to unravel her poetics”[37], or certain pieces that, like those that make up “Ábacos”, are altered by manipulation.  And one thinks that to Poblet could well be applied that excentric abstraction, by Lippard[38], in the sense of the fading of limits or her questioning of certain traditional artistic forms, but also in that chaining of art and life stories, in her interruption of the past, her journey between splits and incorporations, becoming incarnated with images slipped between the present and what seems prodigious. A world full of complexity and strangeness, narrations like a system of meaning, breaths in the silence of a language incinerated by what is left behind (the mourning, the past or the noise).   Beauty elevated from a memory that does not avoid the verb of pain and that made me evoke again that red embroidery by Louise Bourgeois: “I need my memories, they are my documents”[39].  Or that of Gaston Bachelard when he recalled that “important images have both a visible history and a hidden history (…) they are, at the same time, memory and legend”[40].

This does not prevent that, in such a sample of what we could call “different illuminative states, Poblet raises this will to be itself, at the same time that the work is returned to the territory of the magical-imagined as a way of understanding the facts.    Bearer of a lucidity that does not exempt a constant spirit of reservation where it seems to vanish and gives us back fragments of the real world as if they were splinters, more than images, energy centers of a magical activity that carries a cosmic meaning.  Like someone who finds a profound thought that transcends the that which is manifested, in this way her works seem, spaced out as they are, as if attenuated from the moving truth, as if reigning in a mysterious place inhabited by indeterminacy and, therefore, growing the difficult gift of invisibility.  Perhaps “In-Out” (2015) is one of those outstanding examples where the materials, methacrylate and mirrored rings together with photographs of seas or skies —Poblet explains— bring us back to the expression of black holes and the mysterious emptiness that populates space.

Reviewing the vast and complex corpus created by Mabel Poblet to date, one thinks that her work has referred to both time and space, reflecting on a journey towards the limits of images, often received under a certain idea of dispossession.    And since many of her questions have to do with the construction, almost the appearance and presence, of images in space, returning us to the complex enigma of the visible.    Image tempting to be revealed, manifest radiance and source of energy, enigmas gravitate over the real.  Incandescences, enigmatic forms populating the space, some of her creations preserve a certain overtone of effort in the struggle for their emergence.   A lover of the paradoxical, of the games of representation, of the importance of metaphors to understand the world, of the doubts involved in representing the real world, her work is, above all, an interior cartography, the exercise of an unrelenting, tireless search for signs.  Or, perhaps, the expression through metaphors that allow self-knowledge, rather than certainty: creation as the sample of a succession of discontinuities and fleetingness.   A searcher in wastelands, there is something compelling in Poblet’s creations as if it was burning with the need for a story.  Like someone who has understood a miracle, it is the work of someone who has exercised a longing consciousness, consciousness as the expression of a longing.

 

___________________________

FOOTNOTES

[1] WITTGENSTEIN, Ludwig. Typewritten.  Madrid: Editorial Trotta, 2014, p. 45.

[2] Mabel Poblet, notes to “Reverso”. In www.mabelpobletestudios.com

[3]The artist (not) mentioned is Pablo Palazuelo, in conversation with: CALVO SERRALLER, Francisco.  When I work, I feel like I’m listening….  Madrid: “El País”, “Artes”, year IV, nº 121, March 6, 1982, cit. p. 3.

[4] PALAZUELO, Pablo. Jardin. Paris: “Chroniques de l’Art Vivant”, no. 10, Éditions Maeght, 1970 “After the night, at dawn, the angles slowly changed. Then I advanced through the penumbra, in multiple directions. …Where form declines like the setting sun to the west of matter…”.

[5] REIFENSCHEID, Beate. Mabel Poblet Self and World. Regensburg Galerie Isabelle Lesmeister, 2021.

[6] Made, respectively, for the Steven Tanger Center for Performance Arts, North Carolina, USA. Sususrro/Whisper” at El Barrio Artspace PS 109, New York.  What I have described as “environment”, integrated in the exhibition “New Radiance for the Capital”, at the Manzana Kempinscki Hotel, in Havana.  Finally, Taller Gorría Gallery in the San Isidro neighborhood, also in Havana.

[7] DA2-Domus Artium 2002, A roundtrip.  Luciano Méndez Sánchez Contemporary Cuban Art Collection, Salamanca, October 3, 2019-March 1, 2020.

[8] The term is Duchampian.  Vid. in this regard: AMIC, Sylvain-SNRECH, Joanne. Marcel Duchamp. Abécédaire.  Paris: Flammarion, 2018, pp. 76-77.  Recalling Fremon’s remark about the Bourgeois-Duchamp pair: “In his last stage, he shows more affinity with himself than with anyone else”. FREMON, Jean.  Louise Bourgeois.  Mujer Casa.  Barcelona: Elba Ediciones, 2008, p. 86.

[9] “(…) she was more interested in communicating with the society and its culture, creating a participatory work that revealed a lot about Cuban society. In a long process, she designed a multi-perspective installation that focused on the reporting in the official media or newspapers and the process of perception and selection of news in the reception by different families she invited. The selection ultimately reflects the largely equal perception of all participants and thus testifies to the unifying nature within society itself”.  REIFENSCHEID, Beate. Mabel Poblet Self and World. Op. cit.

[10] CAGE, John. Escribir en el agua. Cartas (1930-1992).   Buenos Aires: Caja Negra, 2021.

[11]“All the great birds of the azure are already coming to fall prey to your dreams.” ESTEBAN, Claude-PALAZUELO, Pablo.  Palazuelo.  Paris: Éditions Maeght, 1980. Spanish version of “Ediciones 62”, Barcelona, p. 183.

[12] Digital printing on PVC and plexiglass
200 x 153 cm

[13]“The artwork is inspired by the variability of life, the ephemerality of existence, its instability, as one day everything can vanish and change in a period of time. The lightness of stability, Everything can be one way at one time, and the next day unravel. The blue tones reflect the sea and the pink tones the defragmentation of a body floating in the sea, its fading and dissolving in the water”. www.mabelpobletestudios.com

(http://mabelpobletstudios.com/index.php/es/obras/instalaciones/24-allworks/obras/bouyacy/191-efimera)

[14] Djerassi Resident Artists Program, Woodside, California.

[15] From her series “Homeland”.  One-hour performance over three days, at the Art Museum of the Americas, Washington, DC.

[16] From the series “Today my voice has no sound”. As a large mural (240 x 480 x 7 cm.) with medicine bottles containing artificial blood.

[17] BLANCHOT, Maurice. Knowledge of the unknown.  In “The Infinite Conversation” (1969).  Madrid: Arena Libros, 2008, p. 70

[18] Perhaps the “halo of nostalgia” she was referring to: DE LAS HERAS BRETÍN, Rut. Encapsulate memories.  Cuban artist Mabel Poblet captures the collective memory of the island in her installations.  Madrid: “El País”, October 8th, 2014: “There is a halo of nostalgia that runs through all the artworks (…). Through her works she tells the stories of others that she makes her own (…) a round trip road, with its sea and sky present, in the memory of those who had to leave and now yearn to return.  Emigration carries with it the paradox of wanting to get to the place of one’s dreams and when one reaches it, one dreams of the land of one’s origin. Poblet’s work is dominated by longing and an insistence by the artist to show that something is changing on the island”.  On the occasion of Poblet’s participation in the exhibition “Elemental”, in this same gallery.  Vid. in this regard: JEDERMANN, Katja. Elemental II/IV.  Madrid-Caracas: Galería Odalys, 2014, p. 7.

[19] Digital printing on PVC and plexiglás. 118 x 118 cm.

[20] DE LAS HERAS BRETÍN, Rut. Encapsulate memories.  Op. cit “The blue of the Caribbean Sea (…). A great fragmented photo, as fragmented are the lives of those who do not manage to reach the desired shore. Poblet builds these works from her references, but the idea of the sea as a border can be extrapolated to any bordering area with the same characteristics”.

[21] BLANCHOT, Maurice.  The effect of strangeness. Op. cit., p. 463.

[22] VALÉRY, Paul.  Mauvaises pensées et autres (1941).  Paris: Gallimard, 1960, p. 812 (Ed. J. Hytier, Œuvres, II).

[23]Exhibited in 2017 for the first time at Cynthia-Reeves’ space in the Massachusetts museum of Contemporary Art (MASS MoCA).

[24] POBLET, Mabel.  Notes to “Patria”.  Artist’s file, sent to this author on March, 2022

[25]  POBLET, Mabel. Elemental II/IV.  Madrid-Caracas: Galería Odalys, 2014, p. 29.

[26] “(…) Feature the oceans as metaphors for transit, utopian journey, illusion, longing, and memory – underscoring the sea as both the boundary of her native island and its liberation”. REIFENSCHEID, Beate. Mabel Poblet Self and World. Op. cit.

[27] Digital printing on PVC and plexiglás. 60 x 30 cm

[28] POBLET, Mabel.  Notes to “Ephemera”.  Artist’s file, sent to this author on March, 2022

[29] POBLET, Mabel.  Notes to “Before the Storm”.  Artist’s file, sent to this author on March, 2022

[30]“Mabel Poblet reflects her own experiences in seemingly ephemeral moments of perception and memory, capturing them fragmentarily in photographs that she dismembers and recomposes. For her, her perception of the world can only be reproduced in this discontinuity, in its atomised momentariness, in order to make the tensions, contradictions and different perspectives of possible reception visible at all. For her, who is as fascinated by life in the metropolis as she is by life in nature, this proves to be the case in a nomadic existence. Being constantly on the move has become a common concept of life that not only distinguishes her as an artist but corresponds to the life situation of many – willingly or unwillingly”. REIFENSCHEID, Beate. Mabel Poblet Self and World. Op. cit.

[31] FELSTINER, John.  Paul Celan. Poet, survivor, Jew. Madrid: Editorial Trotta, 2002, p. 343.

[32]“I created this piece while studying at the San Alejandro National Academy of Fine Arts.”  Conversation with this author – April 16, 2022.

[33]  WITTGENSTEIN, Ludwig. Typewritten.  Op. cit. p. 41.

[34] BLANCHOT, Maurice. The Infinite Conversation (1969).  Op. cit., p. XIII

[35]  POBLET, Mabel. Elemental II/IV.  Op. cit.

[36] POBLET, Mabel.  Notes to “Before the Storm”.  Op. cit.

[37] POBLET, Mabel.  Notes to “Patria”.  Op. cit.

[38]I am referring, of course, to the time when Lucy Lippard, in 1966, organized the fundamental exhibition “Eccentric Abstraction” at the Marilyn Fischbach Gallery in New York.

[39] FREMON, Jean.  Louise Bourgeois.  Mujer Casa.  Op. cit. p. 26

[40] Ibid., p. 24.