{"id":193038,"date":"2025-09-16T09:39:19","date_gmt":"2025-09-16T15:39:19","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=193038"},"modified":"2025-10-01T22:29:12","modified_gmt":"2025-10-02T04:29:12","slug":"musica-para-solitarios","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/musica-para-solitarios\/","title":{"rendered":"M\u00fasica para solitarios"},"content":{"rendered":"

What pieces or projects have you been working on lately?<\/strong>
Este \u00faltimo a\u00f1o he estado trabajando con cer\u00e1mica: relieves, esculturas de peque\u00f1o formato y mosaicos.<\/p>\n\n\n\n

What did you learn (or unlearn) while working on them?<\/strong>
Viniendo de una formaci\u00f3n m\u00e1s cercana a la pintura que a la escultura, la curva de aprendizaje de la cer\u00e1mica ha sido muy retadora. En los \u00faltimos tres a\u00f1os he aprendido sobre pastas, m\u00e9todos de construcci\u00f3n y formulaci\u00f3n de esmaltes. He tenido el acompa\u00f1amiento de amigos y colegas, aunque tambi\u00e9n disfruto mucho el proceso de autoaprendizaje, ya sea practicando o recurriendo a videos y textos en l\u00ednea.<\/p>\n\n\n\n

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El color en cer\u00e1mica funciona de un modo muy distinto al de la pintura. Mientras que en la pintura la retroalimentaci\u00f3n de la paleta es casi inmediata, en la cer\u00e1mica hay un margen de incertidumbre enorme entre el trabajo manual y el resultado final. Eso exige m\u00e1s desapego, experimentaci\u00f3n y la sistematizaci\u00f3n de procesos.<\/p>\n\n\n\n

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What words, ideas or emotions were going through your head?<\/strong>
Me interesa encontrar el punto en el que una creaci\u00f3n contempor\u00e1nea pueda dialogar con objetos hechos en \u00e9pocas muy distintas a la nuestra. Reviso constantemente archivos de im\u00e1genes de piezas escult\u00f3ricas y arqueol\u00f3gicas, sobre todo aquellas relacionadas con la representaci\u00f3n arquitect\u00f3nica. Me atraen ejemplos tan diversos como el antiguo Egipto, la cultura Mezcala en Guerrero o la China de la dinast\u00eda Han. <\/p>\n\n\n\n

En los \u00faltimos a\u00f1os he desarrollado una obsesi\u00f3n: encontrar un lenguaje cuya temporalidad sea dif\u00edcil de precisar. Me fascina esa cualidad de ciertos objetos que parecen poder haber sido creados hace dos mil a\u00f1os, o dentro de dos mil.<\/p>\n\n\n\n

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Were there any conversations, movies, music, or books that made their way into that work?<\/strong>
The book\u00a0On the Plurality of Worlds<\/em>\u00a0(1986) de David K. Lewis<\/strong><\/a>, que plantea, desde la epistemolog\u00eda, que nuestro mundo es solo uno de muchos posibles. Tambi\u00e9n he estado leyendo m\u00e1s historia y, en menor medida, teor\u00eda; por ejemplo, la investigaci\u00f3n de Leqi Yu (Painting Architecture<\/em>)<\/strong><\/a> sobre la representaci\u00f3n de la arquitectura en la China de los siglos XIII y XIV. Son libros que leo con mucha lentitud y a los que vuelvo por largo tiempo.<\/p>\n\n\n\n

En cuanto a cine, hace un tiempo vi las dos partes de\u00a0Dune<\/em>\u00a0de Denis Villeneuve<\/strong><\/a>. Tengo muy viva en la mente la impresi\u00f3n visual de la construcci\u00f3n de los mundos y, sobre todo, el dise\u00f1o de sus espacios arquitect\u00f3nicos.<\/p>\n\n\n\n

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What's been the most difficult thing you've faced recently in your creative process?<\/strong>
Alternar entre distintos proyectos en curso y mantener la concentraci\u00f3n. Me ha ayudado usar mi bit\u00e1cora con regularidad, para que las ideas no se dispersen y pueda retomarlas m\u00e1s adelante. La cer\u00e1mica exige mucha organizaci\u00f3n y tiempo, y el reto ha sido administrar ese ritmo sin dejar de lado la pintura.<\/p>\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>
Me gustan las cosas sencillas. Ir\u00eda a un lugar donde pudiera pedir un desayuno a cualquier hora, como unos chilaquiles con frijoles.<\/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>
M\u00fasica para solitarios<\/em>\u00a0(tomado de una pintura de Enrique Guzm\u00e1n), con un soundtrack de Badbadnotgood<\/strong><\/a>.<\/p>\n\n\n\n

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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>
Sigo muy de cerca el trabajo de Tania Bello<\/strong><\/a>, que hace esculturas cer\u00e1micas de cuerpos-casa con una t\u00e9cnica de talla y ahuecado. Admiro su capacidad de generar un lenguaje imaginativo y coherente entre s\u00ed.<\/p>\n\n\n\n

\u00daltimamente tambi\u00e9n he visto mucho el trabajo del d\u00fao CrossLypka<\/strong><\/a>, cuyas esculturas abstractas se transforman a partir de la interacci\u00f3n azarosa del esmalte. Me interesa ese equilibrio entre lo provocado y lo imprevisible.<\/p>\n\n\n\n

Del pintor nipo-brit\u00e1nico Christian Hidaka<\/strong><\/a> admiro la paciencia y precisi\u00f3n de su t\u00e9cnica y su habilidad para transitar entre distintas maneras de representar el espacio, dialogando con la historia de la pintura mundial.<\/p>","protected":false},"excerpt":{"rendered":"

Mientras que en la pintura la retroalimentaci\u00f3n de la paleta es casi inmediata, en la cer\u00e1mica hay un margen de incertidumbre enorme entre el trabajo manual y el resultado final. Eso exige m\u00e1s desapego, experimentaci\u00f3n y la sistematizaci\u00f3n de procesos.<\/p>","protected":false},"author":7927,"featured_media":193039,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17856],"tags":[],"class_list":["post-193038","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artes-visuales"],"acf":[],"mb":[],"yoast_head":"\nM\u00fasica para solitarios - 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\/musica-para-solitarios\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M\u00fasica para solitarios - ERRR MAGAZINE\" \/>\n<meta property=\"og:description\" content=\"Mientras que en la pintura la retroalimentaci\u00f3n de la paleta es casi inmediata, en la cer\u00e1mica hay un margen de incertidumbre enorme entre el trabajo manual y el resultado final. 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Dej\u00e9 de buscar coherencia y empec\u00e9 a confiar en la incomodidad. Aprend\u00ed que mirar de frente tambi\u00e9n cansa, pero mentirme cansa m\u00e1s.\u00a0Este proceso me ha ense\u00f1ado a dejar que las piezas salgan inc\u00f3modas, incompletas, incluso contradictorias.","rel":"","context":"In "Artes visuales"","block_context":{"text":"Artes visuales","link":"https:\/\/errr-magazine.com\/english\/category\/interviews\/artes-visuales\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/errr-magazine.com\/wp-content\/uploads\/2026\/05\/QuebrarseBonito-6.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/errr-magazine.com\/wp-content\/uploads\/2026\/05\/QuebrarseBonito-6.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/errr-magazine.com\/wp-content\/uploads\/2026\/05\/QuebrarseBonito-6.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/errr-magazine.com\/wp-content\/uploads\/2026\/05\/QuebrarseBonito-6.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/errr-magazine.com\/wp-content\/uploads\/2026\/05\/QuebrarseBonito-6.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/errr-magazine.com\/wp-content\/uploads\/2026\/05\/QuebrarseBonito-6.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":205216,"url":"https:\/\/errr-magazine.com\/english\/duro-de-matar-1000\/","url_meta":{"origin":193038,"position":2},"title":"Die Hard 1000","author":"Bruno Esp\u00ednola","date":"04\/23\/2026","format":false,"excerpt":"What I continually learn each time I immerse myself in a project with new materials is to accept uncertainty and not cling so tightly to the outcome I imagined. 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