EL UMBRAL DE LA ZONA
Images as traces of an action. Vestiges of the past of erratic transit zones recreated from memory tirelessly. Signs of a continuous present. Unusual views changing the normal order of things. Each of these claims defines an aspect of Hugo Aveta’s work. A work that constantly re-activates the past to better summon subjects to complex interferences with a present inhabited by uncertainties. Somes images (Los Ojos Sobre La Tierra series) reconstruct views of territories, known to most of us through the media. Here, the space and its distance, comes from the orography and its accidents, homogenized through the terrestrial layer, and whose vision is similar to that from the air. Inside them, the eye is lost in the finesse of textures and traces that subtly refers for both humanitarian issues (the situation of war refugees or illegal migrations), ecological (massive deforestation) or even trafficking in human beings of a territory. All are constructed from materials from the earth, ash, clay, oxide, pigment or ink on glass, by Aveta himself, which he photographs as an ultimate gesture before oblivion; opposing both the solid character (the historical part) and fluid (the way we receive these events) as in a form of resistance. Here, the gesture as much as the materials used, and under cover of a shot, are like an abyss of a story that is repeated despite the singularity of each of them. The video Oceano, meanwhile, recreates a certain reality of disparate elements caught under water at the mercy of the ebb and flow of the tides. They show both their precariousness and their resistance to the image of the paradox of the human condition. Aveta proposes a series of images (El Umbral de La Zona series) in which it would seem to seek to present, or make visible, the amount of time that each of them is capable of condensing: a series of superimposed layers of diverse materials builds them and gives them, in turn, that complex and multiple times condition
It is perhaps this condition that makes them disturbing presences that summon a state of wakefulness, invite us to an attentive position. In reference to the power of images, perhaps in search of a definition, Aveta’s images scrutinize: they are there, always in latency ready to offer an infinity of meaning, perhaps as much as the viewers who observe them. Because, as stated by Georges Didi-Huberman, the images take position, the images also survive, resist, Aveta chooses to think with the materiality of their works and the gestures of their practice in order to put in common different dimensions that converge at the moment of give voice to those situations that become invisible - perhaps due to their recurrence - in our day to day and to put on the stage what escapes us: the intensity of experiences of diverse dimensions that coexist -in simultaneous- in this continuous present that the Aveta’s work summons.
Diana Wechsler Buenos Aires, april 2018