Everything that happens, and yet it is not

Regarding his specific project for the MARCO, Rosendo Cid says: “From the title, the key intention of this exhibition project can be glimpsed. I deviate from the merely descriptive to delve into the very fact of every creative act as a mere occurrence, as an event, being aware of everything that happens before the piece is completed, but it is equally implicit when it is finished.”

Rosendo Cid’s pieces and assemblages respond to this idea, perhaps abstract, perhaps poetic, using — as in most of his work — found or waste materials, some from his own workshop. We find sculptural and photographic pieces; some of them close to the pictorial, as well as others in which the text is a fundamental part, according to his notion that the word is as important as the piece or the object itself.

In conjunction with exclusive works for this exhibition, Rosendo Cid’s proposal brings together rescued pieces from other collections that fit in with the title and the working tune of this project.

“The basis and substance of this project focus on the very nature of the creative act as a mere event, paying attention to everything that can be hardly define by words –as it happens in a non-grammatical area– but it intervenes and influences in the resolution of any artworks, whatever its nature may be. An uncertain material that does not disappear at any time and that is still present once the work is finished, even if there are more clues as to where it was intended to go by then.

Therefore, the project’s title –Todo aquello que sucede y sin embargo no es [Everything that happens, and yet it is not]– refers to that mere happening or to all that invisible material, formed by intentions, chances, previous or foreign knowledge, mistakes, or intuitions that any artist uses; and which are not dissipated even when the subsequent contemplation takes place once the whole process is finished. Thus, a material that acts in any creative process or act, to a greater or lesser degree, and which we are never able to delimit or materialise in any specific way. However, it is essential to establish our certainties or convictions before the creative work.

The pieces and arrangement in the rooms will answer and nourish from these ideas –somewhere between abstract and poetic– using, for some layout, found or discarded materials, most of them from my own workshop; aiming at pieces that take into account elements of chance, of the process itself, and of the circumstances arising, thus arriving at resolutions which were not foreseen at the outset.

Therefore and ultimately, a project whose map cannot be other than the journey that has taken place until the final resolution and presentation in the galleries.”

This book is available for purchase at the Museum’s Bookshop (LASAL BOOKS) and also online www.lasalbooks.com