text published in the book Horacio Cassinelli, Abductor images, area Editions
Based on testing the curvilinear perspective of Andre and Albert Flake bar that shows no regular shape, apart from the circle, not can actually be seen as such and that education and habit cause the brain to correct the distortions of perception, the philosopher Jean-Francois Lyotard argues that learning is unlearning to do to recognize [1].
Based on testing the curvilinear perspective of Andre and Albert Flake bar that shows no regular shape, apart from the circle, not can actually be seen as such and that education and habit cause the brain to correct the distortions of perception, the philosopher Jean-Francois Lyotard argues that learning is unlearning to do to recognize [1].
Opel Corsa , 2000 Playing on our unconscious knowledge of icons of our time post modern, upright images without our knowledge in our memory as a database shared collectively, Horacio Cassinelli demonstrates that education and habit cause the brain to correct the distortions instead of perception, but those that the artist did to the pictures too well known. "Learning to see" the mechanisms that operate in the work would be truly "unlearn to recognize."
The Ambassadors by Holbein the Younger is an array famous, including his strange object prem
ist plan - also remained mysterious long and often called the "cuttlebone" - is the anamorphosis of a human skull, which recovers when located nearby, looking to the left. Beautiful vanity with raised feet ambassadors, it is a sordid reminder of the status of the two fatal starched in their regalia, including wealth, both intellectual and monetary, would tend to make them forget their human condition. 
Contranamorphose , 1998 Horacio Cassinelli performer in his own way the masterpiece of the Renaissance. On a canvas at angles of 45 °, the two protagonists, John and Georges de Selve Dinteville are strangely elongated, distorted, bias. The table needs to be seen "correctly", as the viewer moves to find the focal point that will restore sight grazing the men in their proportions, using the same method used by Holbein to paint the skull. Like a fool's game, where everyone thinks the other deceiving the viewer immediately recognizes the table referent, and think I can stick to that and take his eyes. Yet it is only taking the time, that the careful observer will reach the level of understanding of the work. "Learning to see" here is, firstly, acknowledge ( Ambassadors by Holbein), to better "unlearn " thereafter and identify the differences, transformations that the original suffered. Indeed, in the table of Horacio, the subject that posed a heavy solemnity of the scene and reminded us how many are insignificant luxuries and aspirations of life, has simply disappeared. Only two ambassadors deformed rid of the "reflection of our own nothingness " [2], almost light and carefree ( Contranamorphose , 1998).
"The work lies a little, like stick insects, but taking his time, we see that things are moving, things are more covert. [3] "
At fourteen, Horacio Cassinelli, from Argentina, Chile to attend an earthquake. Waves are formed in the pool away. Instead of imagining the world, stable, flicker, making the artist feel uncomfortable. This story resonates through his work indefinitely. A macabre dance? These are articulated wooden dummies - used in drawing classes to study the attitudes of the human body - placed on a black background on which the artist painted a skeleton, like a stencil pattern ( Calaquitas , 2002). The moon stuck like mud underfoot? A trompe l'oeil painting in a pair of shoes (shoes , 2003). A cake in which small figures moving in the snow? A collage where Brueghel is relegated to the role of garnish ( book of collages, 1995-2005). The Opel Corsa covered the ground for a vase Hellenistic - cracks included - ( Opel Corsa, 2000), butterflies cut from reproductions of paintings and essential history of art ( mariposas , 2000), his work continues to ask ourselves: Do we believe what we see, or do we see what we believe? 
Mariposas , 2000 Take a ruler, pen, and connect the dots, the number 1 in 2039 to bring up the drawing, according to the rule that we follow dutifully child in our notebooks games. It takes a lot of time to finish that thought for Horacio, and nothing a priori no different: the lines that make return trips and black areas - the artist would play it for us? It was only in away, forgetting the profiles of witches that we believed in vain to discover, that we discern a white figure, standing out among the trais angry. Appears when a woman whose curve that barely holds no sway the tissue slides of her hips: the Venus de Milo ( Unolospuntos , 2005). Why did not we had seen before? "Learning to see" would rather let our imagination arise for us to discover almost disappointed when we finally recognize the Greek sculpture, therefore, clears all our projections.
Unolospuntos , 2005 Seeking to know when a work is finished, the artist decides to tackle her pre-existing works - yet. But violently, attacking to the object: it then applies to sculpt three-dimensional mobile phones within African statuettes (To be continued , 2004). The task is not easy, brittle wood. But the question remains: these statuettes, usually with powers, used and reused until they are effective, discarded when damaged, they still have these qualities and atrophied - or increased, it depends - a mobile phone ? I am aware of the incongruity of the question by asking.
Rallying to his cause all Surrealist techniques (collage, exquisite corpse, photography, painting, embezzlement), the artist nevertheless does not seem investigate the strange beauty of everyday life arose sublimate. It does not create images, but draws blithely into a vast movement in pop those we eat every day, then kneaded, sculpts, twists them, distorts them, moves in a very slight difference between the object and its reflection, has pitfalls along the way, and changes our outlook on things we do very little.
Collier , 2010 Under a domed globe, in a Napoleon III, a white pearl necklace hangs on a black velvet. We see a slight abnormality, a blue and green we approach: a swarm of beetles reveals, medley of insects on their backs the precious pearls painted. In a reverse movement that our curiosity brought us to realize we are moving away, agitated, anxiously asking us whether, ultimately, it's not a breakthrough toward an area of our unconscious qu'Horacio Cassinelli try digging.
If Lyotard urges us to give way "instead figural par excellence, scope of vision that focused attention and includes discharges around the small area of distinct vision (foveal) a wide fringe peripheral curved space " Cassinelli, in his work, does not encourage us to do exactly the opposite of the foveal curve at the periphery, but rather to come and go between these two zones collection. One where visual acuity is greatest and our understanding of the optimal image, the other, repressed, limiting as much as possible the effects of gaze intent to capture the elements of an involuntary vision. Can it then qu'Horacio invites us to question what we recognize, to encourage us to discover for ourselves the space curve of the retinal image?
[1] Jean-Francois Lyotard, Speech, figure Paris: Klincksieck, 1985. Lyotard notes mentions a long extract of A.. Barre and A. Flake, The curvilinear perspective , Paris: Flammarion, 1968.
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