"La Ironía de la Coincidencia"
11 / Jan / 2019
Recognized internationally as one of the most outstanding artists of Central America, Dario Escobar has called the critical and curatorial attention in recent decades for a provocative work that, while manifesting a formal and conceptual rigor, projects a revealing criticism of globalization society. Since the end of the 90s, Escobar was recognized for his ingenious appropriation of familiar objects of everyday life and consumer products that bathed in gold in the manner of Guatemalan Baroque art. Since then, Escobar has distinguished himself as an important contemporary artist who maintains a constant dialogue with the reality of the culture of global consumption through industrial objects-such as retreaded rubber, car bumpers, truck containers, oil and all kinds of sport objects that invariably challenge the viewer to reconsider the relationship we have daily with objects of mass production that invade, and sometimes determine, our daily experience. Based on strategies related to minimalism, conceptualism and serialization, Escobar's work emphasizes with deep vision the nature of the objects of our culture of merchandise and consumer products and our growing identification with the myths and realities of globalization.
We could say that all the objects that Dario has made in the last decade are useless objects, mostly found. However, most of these are objects that once had some kind of life or utility. They would be like "still lifes", although very different from those that are familiar in the painting. Their objects / sculptures are not only what they appear, their externality (forms or substances). In any case, all of Escobar's works differ from minimalism because what you see is not what you see. Thus, what could apparently be taken as abstractions is already imbued with meaning and cultural meaning that, in his case, one way or another we end up addressing when relating to this always challenging work.