{"id":192406,"date":"2025-08-27T16:16:22","date_gmt":"2025-08-27T22:16:22","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=192406"},"modified":"2026-06-09T05:30:09","modified_gmt":"2026-06-09T11:30:09","slug":"cartografia-del-gesto","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/cartografia-del-gesto\/","title":{"rendered":"Cartograf\u00eda del gesto"},"content":{"rendered":"

What pieces or projects have you been working on lately?<\/strong>
Este a\u00f1o abr\u00ed el estudio a la pausa y a mirar de frente las im\u00e1genes. De ah\u00ed surge\u00a0Afantas\u00eda en la era del simulacro: del Nacimiento de Venus<\/em>\u00a0a la imagen generativa, una investigaci\u00f3n que cruza el canon cl\u00e1sico con herramientas de IA y retoma la noci\u00f3n de\u00a0Still-Morte<\/em>\u00a0from Vera Mercer<\/a> como tensi\u00f3n entre lo dispuesto y lo imprevisto. Retratos en colaboraci\u00f3n y naturalezas \u201cdirigidas\u201d que se resuelven en el tiempo del taller, con confianza y escucha como m\u00e9todo. En paralelo, sigo trabajando\u00a0Send Nudes<\/a><\/em>, proyecto inspirado en la obra\u00a0A trav\u00e9s del espejo<\/em>\u00a0from Joan Fontcuberta<\/a> y operando desde 2018 a partir de una convocatoria abierta y consensuada de\u00a0selfies<\/em>\u00a0al desnudo llevadas a pintura, que hoy leo con distancia y con nuevas capas sobre intimidad, presencia y representaci\u00f3n; ese proceso se presentar\u00e1 en una individual en Tucson en noviembre de 2025. Vuelvo tambi\u00e9n a Pxrnpics<\/a> con dos piezas nuevas que afinan la fricci\u00f3n entre el p\u00edxel aprehendido y la materia del \u00f3leo; se ver\u00e1n en una colectiva del 3 de septiembre en Obra Gris<\/a> (CDMX). Y el 23 de octubre en Capilla del Arte<\/a> (Puebla) presento\u00a03 obras de El desayuno, proyecto que naci\u00f3 como performance tambi\u00e9n en 2018. En conjunto, todo apunta a lo mismo: sostener una pr\u00e1ctica atenta, cr\u00edtica y cercana, sin prisa por \u201ccerrar\u201d lo que todav\u00eda est\u00e1 pens\u00e1ndose.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What did you learn (or unlearn) while working on them?
<\/strong>Aprend\u00ed a darle sitio a la pausa. A sostener zonas en suspenso y permitir que la imagen marque el ritmo. La sorpresa aparece cuando no la fuerzo: cuando escucho el proceso, encuentro decisiones que el concepto no ve\u00eda. Desaprend\u00ed la prisa por \u201ccerrar\u201d y el impulso de explicar de inmediato. Prefiero el gesto que abre camino a la consigna que lo clausura. Pinto para pensar; si intento que el cuadro sea fin y no medio, se vuelve m\u00e1s estrecho de lo que pide.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What words, ideas or emotions were going through your head?
<\/strong>Esperar. Presencia. Complicidad. Un umbral entre pantalla e imagen encarnada, y ah\u00ed el deseo como pregunta. Fragilidad entendida como precisi\u00f3n, no como debilidad. D\u00edas de calma que ordenan y d\u00edas de v\u00e9rtigo que empujan a mover la mirada. Tambi\u00e9n una idea obstinada: m\u00e1s que perseguir una novedad ruidosa, afinar una resonancia propia; que la obra se sostenga por sentido y no por volumen.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Were there any conversations, movies, music, or books that made their way into that work?
<\/strong>S\u00ed. Los encuentros fortuitos con Tessa \u00cda <\/a>en el estudio detonaron dos retratos que hoy se leen dentro de Afantas\u00eda; su aparici\u00f3n, en medio de una investigaci\u00f3n sobre \u201cimagen generativa\u201d, termin\u00f3 siendo un gui\u00f1o sem\u00e1ntico que me gust\u00f3 conservar. En el plano te\u00f3rico, vuelvo seguido a Arthur Danto,\u00a0Despu\u00e9s del fin del arte<\/a><\/em>: me recuerda que la obra es forma de pensamiento y que el medio no es un destino. De Giorgio Agamben,\u00a0Nudities<\/a><\/em>, me acompa\u00f1a la idea de contemporaneidad como ese mirar la zona oscura del presente \u2014\u201cpercibir, en la oscuridad del presente, esa luz que intenta alcanzarnos y no puede\u201d\u2014, algo que atraviesa tanto\u00a0Send Nude<\/em>s como\u00a0Afantas\u00eda<\/em>\u00a0en su juego de revelar y retener. Y R\u00e9gis Debray,\u00a0Vida y muerte de la imagen<\/a><\/em>, me sirve para no romantizar: la imagen tambi\u00e9n es dispositivo, rito, promesa; su \u201cm\u00edstica\u201d puede ordenar conductas si no se interroga.

En paralelo,\u00a0Severance<\/a><\/em>\u00a0dej\u00f3 eco: protocolo, segmentaci\u00f3n de la experiencia, obediencia est\u00e9tica. Pens\u00e9 la pintura como posible aparato de adoctrinamiento cuando se absolutiza su misterio t\u00e9cnico. La salida, en mi caso, es restarle doctrina a la imagen: abrir fisuras en el proceso, permitir pausas que devuelvan agencia a lo que sucede delante del cuadro.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What's been the most difficult thing you've faced recently in your creative process?
<\/strong>Sostener un hilo claro con cuatro frentes abiertos a la vez: docencia (y un libro en producci\u00f3n), dos inauguraciones en el Museo de la Canciller\u00eda<\/a>, la segunda edici\u00f3n de Sal\u00f3n Mesones<\/a> y el trabajo de sentido dentro del estudio. No faltaron ideas; sobr\u00f3 interferencia. Lo resolv\u00ed con m\u00ednimos muy concretos:

– un bloque ciego diario de estudio sin mensajes ni pendientes;
– una hoja de ruta semanal por proyecto;
– descanso real sin pantalla cuando el ojo ya no decide.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

If you could have dinner at any restaurant in the city tonight, where would it be and what would you order?
<\/strong>Esta noche ir\u00eda a Charco<\/a> por el magret de pato; crujiente, bien sellado, salsas precisas. Si el antojo vira a lo mediterr\u00e1neo, cambio rumbo a Zinco<\/a> y pido los pulpos a la griega. Ambos en el coraz\u00f3n de la CDMX.<\/p>\n\n\n\n

If your life were a movie this month, what would it be called and who would write the soundtrack?<\/strong>
Title: Cartograf\u00eda del gesto<\/em>
Soundtrack: Sebasti\u00e1n Lechuga<\/a> \u00d7 Rubio<\/a> \u00d7 Juan Son<\/a><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Recommend us an artist you follow who inspires you, and tell us what you like most about their work or their way of working.
<\/strong>Elegir a una sola persona es casi un delito, pero si tuviera que se\u00f1alar un referente dir\u00eda Andrea Garay<\/a>: me inspira su po\u00e9tica interdisciplinar de la cotidianidad, c\u00f3mo vuelve los peque\u00f1os gestos partituras sensibles y hace del espacio un cuerpo vivo.

En el mapa cercano: Remi C\u00e1rdenas<\/a>, por su investigaci\u00f3n del tiempo depositado en la materia; Carmen Bado<\/a>, por la lucidez con que piensa el cuerpo como territorio; Alejandro Palomino<\/a>, por la m\u00edstica y la sombra que atraviesan su trabajo; Osamu Obi<\/a>, por las capas que construyen profundidad t\u00e1ctil; F\u00e9lix Gonz\u00e1lez-Torres<\/a>, por la econom\u00eda formal que sostiene afecto y pol\u00edtica sin subrayados; y Mar\u00eda Eugenia Chellet<\/a>, por el humor feroz y la inteligencia con que pone el cuerpo en juego. Todos, a su modo, me recuerdan que la obra se piensa trabajando.<\/p>","protected":false},"excerpt":{"rendered":"

Prefiero el gesto que abre camino a la consigna que lo clausura. Pinto para pensar; si intento que el cuadro sea fin y no medio, se vuelve m\u00e1s estrecho de lo que pide.<\/p>","protected":false},"author":8432,"featured_media":192407,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17849],"tags":[],"class_list":["post-192406","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"acf":[],"mb":[],"yoast_head":"\nCartograf\u00eda del gesto - ERRR MAGAZINE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/errr-magazine.com\/english\/cartografia-del-gesto\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cartograf\u00eda del gesto - ERRR MAGAZINE\" \/>\n<meta property=\"og:description\" content=\"Prefiero el gesto que abre camino a la consigna que lo clausura. Pinto para pensar; si intento que el cuadro sea fin y no medio, se vuelve m\u00e1s estrecho de lo que pide.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/errr-magazine.com\/english\/cartografia-del-gesto\/\" \/>\n<meta property=\"og:site_name\" content=\"ERRR MAGAZINE\" \/>\n<meta property=\"article:published_time\" content=\"2025-08-27T22:16:22+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-06-09T11:30:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/errr-magazine.com\/wp-content\/uploads\/2025\/08\/2025-465-Ia-Safo-y-Siboney_oleolino_90x60_MiguelCasco-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1707\" \/>\n\t<meta property=\"og:image:height\" content=\"2560\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Miguel Casco\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Miguel Casco\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/errr-magazine.com\\\/cartografia-del-gesto\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/errr-magazine.com\\\/cartografia-del-gesto\\\/\"},\"author\":{\"name\":\"Miguel Casco\",\"@id\":\"https:\\\/\\\/errr-magazine.com\\\/#\\\/schema\\\/person\\\/ae12a66a8b48270740e6ccfc951701fc\"},\"headline\":\"Cartograf\u00eda del gesto\",\"datePublished\":\"2025-08-27T22:16:22+00:00\",\"dateModified\":\"2026-06-09T11:30:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/errr-magazine.com\\\/cartografia-del-gesto\\\/\"},\"wordCount\":1027,\"image\":{\"@id\":\"https:\\\/\\\/errr-magazine.com\\\/cartografia-del-gesto\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/i0.wp.com\\\/errr-magazine.com\\\/wp-content\\\/uploads\\\/2025\\\/08\\\/2025-465-Ia-Safo-y-Siboney_oleolino_90x60_MiguelCasco-scaled.jpg?fit=1707%2C2560&ssl=1\",\"articleSection\":[\"Interviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/errr-magazine.com\\\/cartografia-del-gesto\\\/\",\"url\":\"https:\\\/\\\/errr-magazine.com\\\/cartografia-del-gesto\\\/\",\"name\":\"Cartograf\u00eda del gesto - 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