Armando Mariño – 532 Gallery Thomas Jaeckel, New York
Born 1968 in Cuba
The ethical dilemma implied by the aestheticization or domestication of a violent event – from the moment it becomes “breaking news” and is then converted into art through painting – constitutes the axis of the recent work of Armando Mariño.
Appropriating images whose authorship and authority become less important (ordinary, everyday) and to which ordinary mortals have instant access via the web or print media, Mariño launches a new kind of neo-historicism. He atomizes the citation, a process made evident through a procedure of pictorial distancing – a distortion of a distortion, we might say – in which the original reference is totally lost. In this sense we can affirm that his images carry the bastard sign since their true lineage is unknown. And yet, the works continue to carry a certain mysterious aura since they have been converted; extracted from their origins and sublimated into art works.