Jorge Satorre

Jorge Satorre

Ciudad de Mxico, Mxico, 1979.Vive y trabaja en msterdam, Pases Bajos.

Tras desarrollarsecomo ilustrador editorial, el trabajo de Jorge Satorre recupera y pervierte mtodos propios de ese campo, en donde la comunicacin tcita establecida entre creador, historia, imagen y lector/espectador sirven de punto de partida para relacionarse y trabajar con la problemtica de los contextos especficos en los que basa cada uno de sus trabajos.

Los modos escasos de presentacin que acostumbra utilizar, en donde la combinacin de dibujo y texto funciona como medio principal, propician un tipo de trabajo que existe basado ms en las posibilidades de comunicacin oral que en sus elementos visuales.

Jorge Satorre

Mexico City, Mexico, 1979.Lives and works in Amsterdam, The Netherlands.

After several years of working as an illustrator, Jorge Satorre recovers and perverts the methods of this practice, where the unspoken communication established between creator, history, image and reader/viewer serves as a starting point to relate and work with the problem of contexts.

He often utilizes bare-bones modes of presentation where the combination of drawing and text functions as the main support for story-telling, the discursive thus taking primacy over the visual elements of the work.

Jorge Satorre & Erick Beltrn (dibujos | drawings: Jorge Avia)Modelling Standard201057 dibujos en impresin xerogrfica sobre papel bond | 57 xerographic print drawings on bond paper50 x 35.43 inches eachEdition 1/25, 1(Inv# B & S1)

*The individual prints that make up this installation were made from original drawings by Jorge Avia. The original drawings are sold together as a single work entitled Modelling Standard.

Exhibited:FormContent, Gasworks, London, United Kingdom. 2010. Casa Vecina, Mexico City, Mexico. 2010 LABOR, Mexico City, Mexico. 2011.LISTE 16, Basel, Switzerland. 2011.

Modelling StandardA project by Erick Beltrn & Jorge Satorre

In the late nineteen seventies microhistory was developed in Italy as a new historiographic methodology. Its structure is anchored in three basic principles: the reduction of the scale of analysis, the intensive exploitation of original sources and the adoption of the explanatory exhibition model, commonly associated to detective novels since it applies deductive methods through clues. Among the most significant contributions of microhistory to the historiographic field are: the interest in the subordinate classes which forces the redefinition of the historical analysis as a whole, imagination as a legitimate research tool, and narrative as a guiding method.

Modelling Standard is based on our interest in the methodology of microhistorical studies and could be seen as a personal attempt to achieve a never-ending critique and transformation of the historical categories. The development of the project was comprised of a period of research in which the origins of microhistorical practice were discussed and analysed, such as the epistemological turn carried out by the French Ecole des annales, founded by Lucien Febvre and Marc Bloch and developed later by Fernand Braudel and others; the English local history studies of Leicester University; the appearance of the term microhistory in the 1970s coined by Carlo Ginzburg, Edoardo Grendi and Giovanni Levi; and more recently, Latin American reinterpretations of this historical practice will be some of the contents in our researchs index.

Concepts that are inherent to microhistory are here used as a permanent strategy to reorganize and reactivate seemingly disconnected elements that make reference to personal experiences and popular culture. This was made into a visual diagram depicting a series of questions based on personal subjectivity, but aiming to propose definitions framed within the general state of the real.

This methodology is not approached as a process of random decisions but as a platform in which a large number of historiographic tools are used to explain a complete scene. Among these devices we can highlight the moral imagination, the indiciary paradigm, the reduction of study scale, and the anomaly case.

The use of diagrams allows us to reduce specific situations to models, as well as to visualise the process of solving a dilemma. These diagrams act as our translating machines to transport the historiographic and sociological realms into the territory of artistic practice.

The process of creating the diagrams functioned as the script for the production of the final piece and the exhibition. The idea is to create a series of models from diverse materials through which we will present evidence of the connections between diagrammed concepts and potential specific cases.

Since the project tries to think itself as a conscious process coming from the deductions of the research, it is difficult to foresee the final outcome. Nevertheless, the cohesive element of the project is the method of writing the basic script carried out by taking maps and projections -understood here as an extension of coordinates- as the departure point.

The title of this project plays with the notion of the Standard Model, which is the current theory of fundamental particles and their interaction. The attraction and repulsion between these minimum units of matter is what makes possible the visibility of all the things in the universe.

One feature of the Standard Model important to us is that, even though it may seem perfect according to mathematical calculation, it proves to be incomplete. The Standard Model cannot explain why some particles exist as they do e.g. why particles have a certain mass. Physicists have theorised the existence of the so-called Higgs field, which in theory interacts with other particles to give them mass. The Higgs field requires a particle, the Higgs boson, which has not been observed in any experiment.

This model could work as a metaphor for the importance of looking at internal dynamics in small scales at sociological and historical levels and, therefore, the consequences they entail in reconsidering the mechanics of a given analysed system. Likewise, microhistory works by means of the recollection of hints, like pieces of a puzzle, tirelessly looking for an ungraspable, complex image or system.

Installation view: FormContent, Gasworks, London, United Kingdom. 2010.

Installation view: FormContent, Gasworks, London, United Kingdom. 2010.

Installation view: Casa Vecina, Mexico City. 2010.

Installation view: LISTE 16, Basel, Switzerland. 2011.

Jorge Satorre (1979)Caballo 12010Lpiz sobre papel | Graphite on paper29.7 x 21 cm (11.69 x 8.27 inches)39.6 x 30.8 cm con marco (15.59 x 12.13 inches framed)

(Inv# JS 17)

Jorge Satorre (1979)Caballo 12010

Seleccin de una serie de dibujos hechos de memoria de sitios en ciudades que he visitado, en donde la primera actividad o contacto con el lugar y su gente haya sido bailar.

El ttulo del proyecto viene de un trmino que se utilizaba en los maratones de baile en los aos 30 en Estados Unidos. As es como se le llamaba a todo competidor que lograba superar las 500 horas continuas sin parar de bailar.

Selection of a sequence of drawings made up from the memory of spaces in cities he visited, in which the first activity or contact with the place and its people was dancing.

The title of the project derives from a word which was used in the dancing marathons in the 1930s in the USA. Thats how they called each competitor who exceeded 500 hours of continious dancing.


(Inv# JS 18)


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Jorge Satorre (1979)La clase de dibujo | The Drawing Class2010Lpiz sobre papel | Graphite on paper2 Dibujos: 15 x 21cm c/u (2 drawings: 5.91 x 8.27 inches each)29 x 35 cm con marco (11.42 x 13.78 inches framed)(Inv# JS16)

Exhibicin: The Circulating actions of Things. Bard College, Annandale-on-Hudson, curada por Manuela Moscoso. Nueva York, Estados Unidos. 2011

Jorge Satorre (1979)La clase de dibujo | The Drawing Class2010

Jorge Satorre (1979)The Visit2010320 drawings traded to slides(Variable dimensions)

(Inv# JS 15)

Exhibited: La verdad divina, LABOR, 2010.

Jorge Satorre (1979)The Visit2010

The Visit is a selection of almost 400 sketches made by 100 tattoo artists both professional and amateur, and presented as a diaporama. The sketches were based on the oral description of the 4 tattoos artist Lawrence Weiner has on his body.

These images are a conclusion and an illustration of an epistolary exchange held with Weiner, the result of an invitation from the Swiss tattoo magazine, Sang bleu, to produce an artistic work for its publishing. The basis for this conversation was the way Weiner uses tattoos in his work to deal with the conflict implicit in his conviction that context does not exist. This conviction is confronted with the important role the imagination of the spectator plays in the construction of his work.

Jorge Satorre (1979)The Erratic. Measuring Compensation 2009-20103 drawings, diagram, piece of stone and plaster stoneDiagram: 57 x 44 cm (22.44 x 17.32 inches) Framed 64.5 x 51.5 cm (25.39 x 20.28 inches)Stone: 4 x 17 x 11 cm (1.57 x 6.69 x 4.33 inches)Plaster stone: 70 x 120 x 35 cm (27.56 x 47.24 x 13.78 inches)3 drawings: 1. 29.7 x 21 cm (11.69 x 8.27 inches) 2. 29.7 x 21 cm (11.69 x 8.27 inches) 3. 29.7 x 42 cm (11.69 x 16.54 inches)

(Inv# JS 12)


Jorge Satorre (1979)The Erratic. Measuring Compensation.2009-2010

In September 2008 the port of Rotterdam (Maasvlakte), the largest in Europe, underwent a dramatic transformation based on a plan of extending its land 20% of its original size. It is estimated that when this project is finished, a total of 5 million tons of stone would have been bought and transported from Scandinavia for the construction of dikes and dams. Coincidentally, the few stones that can be found in Holland were almost entirely brought from this region thousands of years ago due to glacial movement. These stones are known as erratic stones.

A search for an erratic stone was organized at the same time as construction began on Maasvlakte, both as a symbolic gesture and a critique of the effectiveness and significance of ecological compensation programs. Finally, an approximately three and half-ton stone was found in a farm near the town of Erica, close to Emmen, Holland. A geologist analyzed it to determine its place of origin. Once this information was confirmed, the stone was moved and then abandoned in a forest in southern Sweden in January 8th 2010.

The event was registered following a method used in archeology when a site with a prehistoric megalith, particularly those known as hunebedden, is discovered. The method consists in locating the holes left by the stones, filling them up with plaster or concrete, and then leaving them buried in the ground as a mark.

Jorge Satorre (1979)La verdad divina (Piaxtla indiciaria) 2009-2010Lpiz sobre papel y guin fotocopiado | Graphite on paper and photocopied screenplay352 dibujos negros 18 x 24 cm (7.09 x 9.45 inches) c/u enmarcados 52 dibujos de viaje 21 x 29.5 cm (8.27 x 11.61 inches) c/uGuin fotocopiado tamao carta

(Inv# JS 28)


Jorge Satorre (1979)La verdad divina (Piaxtla Indiciaria)2009-2010

LA VERDAD DIVINA (PIAXTLA INDICIARIA) es un proyecto de largo recorrido planteado como una cadena de interpretaciones a la manera de un laboratorio de experimentacin hermenutica. Basado en la idea de trasladar la interpretacin de una realidad social concreta a un nivel de subjetividad extremo a partir de la intrusin de distintos referentes del artista. Los dibujos velados presentes en la exposicin son el eslabn que concluye este proceso.

El mtodo llevado a cabo consisti en reunir a un grupo de ilustradores dirigidos por Jorge Avia, a interpretar por medio de dibujos, a partir de la narracin oral de Satorre, un texto de manera fragmentada durante aproximadamente dos meses y medio.

El texto en cuestin es un guin cinematogrfico titulado El cuarto camino escrito por el novelista lmer Mendoza basado en la trama de la pelcula de corte absurdista Two-Lane Blacktop (Monte Hellman, 1971) y una serie de notas y dibujos, realizados previamente por Satorre. La documentacin en la que se bas Mendoza, contenida en la mesa que acompaa los dibujos velados, constituye el total de las fases previas:

-Una estancia de un mes en el pueblo de Piaxtla, Puebla, el cual se encuentra en peligro de desaparicin por la constante emigracin de su poblacin a Estados Unidos.

-Realizacin de una serie de dibujos basados en mitos y leyendas contadas por gente del pueblo.

-La participacin de habitantes de Piaxtla analizando la pelcula Two Lane Blacktop (Monte Hellman 1971)

-Un viaje en coche desde el pueblo hasta Nueva York incorporando en la ruta el paralelismo existente entre la carrera de coches que protagoniza la pelcula y el trayecto de Maurilia Arriaga, primer piaxteca en emigrar en 1952.

Conforme se iban realizando los dibujos a partir de los fragmentos de esa pelcula en potencia escrita por Mendoza, en el momento en que la imagen resultante satisfaca al grupo, procedan a oscurecerlos casi totalmente. Entendiendo que las intenciones radicaban en el proceso de interpretacin y no en el resultado de ella o valor funcional/didctico comnmente asociado a un storyboard. De esta manera, la razn del trabajo radica en el esfuerzo mental por posicionarse de forma grupal en la construccin de esa pelcula no realizada. La serie resultante de dibujos en tinieblas, como si se tratara de una pelcula velada, funciona idealmente slo como un indicio del largo proceso. Permitiendo as que la cadena interpretativa que dio pie a este trabajo se torne infinita, siguiendo su curso en cada uno de los posibles lectores de El cuarto camino.

Jorge Satorre (1979)La verdad divina (Piaxtla Indiciaria)2009-2010

THE DIVINE TRUTH (INDICIARY PIAXTLA) is a long journey-project presented as a chain of interpretations in the spirit of a hermeneutic laboratory. It is based on the idea of transposing the interpretation of a specific social reality to an extreme level of subjectivization based on the intrusion of different referents from the artist. The veiled drawings included in the exhibition are the link that conclude this process.

The divine truth (evidentiary Piaxtla) was carried out by a group of illustrators gathered by Jorge Avia. Its purpose was to interpret a text, in fragments, by means of drawings based on Satorres oral narration. The process lasted two and a half months.

The text under discussion is a film script entitled El cuarto camino, written by novelist lmer Mendoza. The absurdist film Two-Lane Blacktop (Monte Hellman, 1971) in combination with a series of drawings and notes made by Satorre were altogether used as a reference to develop the above mentioned film script. The documents on which Mendoza based his film, laying on the table by the veiled drawings, make up for the totality of previous phases. These phases included:

-A month-long stay in the town of Piaxtla, Puebla, which finds itself in danger of disappearing due to the constant emigration of its population to the United States.

-A series of drawings based on the myths and legends told by the people of Piaxtla.

-The participation of the people of Piaxtla in the analysis of the film Two Lane Blacktop (Monte Hellman, 1971).

-A journey by car from Piaxtla to New York establishing a parallel between the car race in the film and the journey of Maurilia Arriaga, the first Piaxteca to emigrate in 1952.

Once the drawings based on the fragments of that potential film written by Mendoza were finished and when the resulting images were approved by all they were darkened almost completely. The focus was the process of interpretation, not its result or the functional/educational value commonly associated with storyboards. Thus, the idea behind the communal work was the mental effort to take up a stance in the collective construction of that not-yet-made film. The resulting darkened drawings, considered as a veiled film, ideally work only as a trace or an indication of the long process. This allowed the interpretative chain that gave birth to this work to become infinite as it followed its course through each of the possible readers of El cuarto camino.

Jorge Satorre (1979)La part maudite illustre (La parte maldita illustrada) 2010Mixed media: 33 bases de offset y 90 pinturas de gouache sobre madera | Mixed media: 33 offset plates and 90 gouache on wood paintings | Techniques mixtes: 33 plaques offset et 90 gouaches sur boisGouaches: 21 x 14.8 cm c/u (Gouaches: 8.27 x 5.83 inches each)(Inv# JS 13)

Exhibited: The Indirect Gaze, Le Grand Caf, Saint-Nazaire, France. 26 June 21 August 2010FIAC 2011. Pars, Francia.

Jorge Satorre (1979)La part maudite illustre (La parte maldita illustrada) 2010

Saint Nazaire es conocida por contar con el astillero que hasta la fecha construye los barcos ms grandes del mundo. Al final de la segunda guerra mundial, fue bombardeada y destruida en un 90% y en la dcada de 1950 la ciudad fue reconstruida casi totalmente.

En 1949 George Bataille public un ensayo filosfico de teora econmica titulado La parte maldita, el cual fue poco apreciado en su tiempo por el enfoque mstico de sus planteamientos. En l, Bataille reivindica la importancia del gasto improductivo en un sistema econmico normalmente ligado simplemente a un proceso de produccin y consumo. Propone que toda sociedad produce un excedente de bienes que tiene que ser dilapidado, entendiendo esto como un factor inherente en el proceso evolutivo de la misma. Durante el desarrollo del libro, el autor analiza diversos ejemplos como son: los sacrificios humanos en el imperio azteca, el derroche y destruccin en las guerras, la ostentacin del lujo, el potlacht, la condena de la limosna en el calvinismo, etc.

El libro antes citado sirvi como base para establecer una serie de conexiones con la historia de la ciudad. Principalmente con el hecho de que St Nazaire haya sido fundada a partir de la necesidad de mano de obra para la construccin de un artefacto tan particular como lo es un barco. Y sobretodo, con el increble despliegue de energa, organizacin de trabajo y materia prima que se requiere para construir tal producto, confrontndolo con la paradoja de ser una de las pocas cosas creadas por el hombre que difcilmente pueden ser conservadas por un largo perodo de tiempo. A excepcin de contados casos, ya sea por incendio, hundimiento o desguace, un barco est condenado a desaparecer relativamente pronto.

El trabajo se concret proponiendo una reedicin ilustrada de La parte Maldita. Las imgenes provienen de una especie de inventario personal de todos lo barcos construidos en St Nazaire de los que logr encontrar pruebas de su desaparicin. Las pinturas fueron hechas por Jorge Avia, un ilustrador experto en reas tan diversas como la novela policiaca y el dibujo cientfico, partiendo de datos y descripciones encontrados en documentos de la ciudad. La esttica y formato se inspir en las postales que se acostumbraban imprimir a principios del siglo pasado cuando un barco era finalizado y parta del puerto.

La produccin del libro se detuvo intencionalmente justo antes ser impreso, conservando simplemente las placas de offset con el layout de la publicacin. Siendo as un libro en potencia, manteniendo finalmente la asociacin entre Bataille, St Nazaire y Satorre, como algo casi personal del artista.

* La part maudite illustre fue realizado a partir de una invitacin del centro de arte contemporneo Le grand caf en la ciudad de St. Nazaire en Francia a proponer y desarrollar un trabajo en relacin a la historia del sitio.

Jorge Satorre (1979)La part maudite illustre (La parte maldita illustrada) 2010

Saint-Nazaire is known for having a shipyard that continues to produce the largest ships in the world. By the end of the Second World War, 90% of the city was bombed and destroyed and in the 1950s, the city was reconstructed almost in its entirety.

In 1949, Georges Bataille published a philosophical essay on economic theory entitled The Accursed Share - fairly unappreciated at the time due to its mystical undertones. In the book, Bataille argues for the importance of expenditure in an economic system habitually linked to a simple process of production and consumption. He proposes that all of society produce an excess of goods to be destroyed, understanding this as an inherent factor in the evolutionary process of society itself. Over the course of the book, the author analyzes various examples; human sacrifice in the Aztec empire, waste and destruction in wars, luxury, potlatch, the condemnation of begging in Calvinism, and so on. Batailles book served as the basis for establishing a series of connections with the history of the city. In particular, the fact that Saint-Nazaire was founded out of the need to support the construction of an artifact as particular as the boat. And above all, with the incredible burst of energy, labor and raw materials required to build such a commodity, which ironically is one of the few things created by man that can hardly be preserved for a long period of time. Except in rare cases, either by fire, sinking or scrapping, a ship is doomed to disappear relatively quickly.

The work was conceptualized by proposing an illustrated remake of The Accursed Share. The images come from a kind of personal inventory of all the boats built in Saint-Nazaire where the artist could find evidence of their disappearance. The paintings were made by Jorge Avia, an artist who produces illustrations for everything from detective stories to scientific drawings based on descriptions found in documents found in the city. The postcards - printed in the early twentieth century when a ship was finished and left the port - inspired the aesthetic and format of the work.

The production of the publication was detained just before printing, conserving only the offset plates with the layout of the publication. Thus the book is a potential work, which associates Bataille, Saint-Nazaire and the subjective vision of Jorge Satorre.

* La Part maudite illustre was the result of a residency from the contemporary art center Le Grand Caf in Saint-Nazaire (France) where Jorge Satorre has to produce a site-specific work.

Jorge Satorre (1979)La intencin general (The General Intention) 2009Hoja de apoyo enmarcada y dibujos ocultos | Framed support sheet and hidden drawings29.7 x 21 cm (11.69 x 8.27 inches)

(Inv# JS Carpeta 9)

Jorge Satorre (1979)La intencin general (The General Intention) 2009 Durante el mes de Septiembre del 2006 realic un viaje a Los Angeles, Ca. en bsqueda de detalles, rastros y secuelas en torno al mtico performance Shoot realizado en 1971 por Chris Burden. La mezcla de escaso registro documental en sus acciones, la seleccin de testigos, el paso del tiempo y los rumores suscitados provoc un tipo de trabajo que hasta la fecha se difunde primordialmente de modo legendario.

A partir de la experiencia en Los Angeles, produje el trabajo titulado National Balloon cuya documentacin consta de dibujos y fotografas.

Desde hace algunos aos, siempre que tengo que realizar un viaje largo, acostumbro pedirle a un amigo cercano o a una persona con la que me siento muy identificado que decida cul o cules sern los libros que leer en el camino. En esa ocasin, la artista Dora Garca fue quien determin mi lectura durante mi permanencia en Los Angeles. Me pidi que el cuento La figura de la alfombra de Henry James fuera el nico texto que leyera durante esos das.

El relato cuenta la historia de un par de jvenes crticos literarios al verse envueltos en una obsesiva bsqueda por descubrir un mensaje oculto en la obra de su escritor preferido. Todo comienza cuando uno de ellos se entrevista con el autor y ste le revela que hay algo implcito en la totalidad de sus libros, un secreto en donde se condensa la esencia de sus intenciones como escritor.

Despus de algunos aos, uno de los muchachos logra descifrar el enigma pero muere antes de poder confesrselo a su colega, dejando como nica depositaria a su esposa. Esta se niega rotundamente a revelarlo hasta que finalmente ella tambin fallece.

Durante y despus de mi estancia en Los Angeles realic algunos dibujos basados tanto en el relato de James como en la obra de Dora Garca, los cuales no inclu como parte de National Balloon. Estos dibujos descartados nunca han sido ni sern mostrados.

Lo nico que finalmente he decidido sacar del sobre donde estn conservados es la hoja en blanco que protege las ilustraciones, misma que utilic en su momento para apoyar mi mano al dibujar la serie.

Jorge Satorre (1979)La intencin general (The General Intention) 2009

During September of 2006 I traveled to Los Angeles, CA. in search of details, traces and effects related to the mythical performance of Shootcarried out in 1971 by Chris Burden. The mix of scarce documentation of his actions, the selection of witnesses, the passing of time, and the rumors aroused, provoked a type of work that to this day is spread in a legendary way.

After this experience in Los Angeles, I produced the work entitled National Balloon, whose documentation consists of drawings and pictures.

Since a few years ago, whenever I have to take a long trip, I usually ask a close friend or someone with whom I strongly identify to dedicate which book or books I shall read along the way. On this occasion, the artist Dora Garca was the one who determined my reading during my stay in Los Angeles. She asked that the short story The Figure in the Carpet by Henry James be the only text that I read during these days.

This tells the story of a couple of young literary critics who find themselves wrapped up in an obsessive search to discover the hidden message in the work of their favorite writer. All of this begins when one of them interviews the author who reveals that there is something implicit in the totality of his books, a secret in which the essence of his intentions as a writer are condensed.

After a few years, one of them succeeds in deciphering the enigma, but he dies before he can confess it to his colleague, leaving his wife as the only holder of the secret. She emphatically refuses to reveal it until she too finally passes away.

During and after my stay in Los Angeles I made several drawings based on James`s story and on Dora Garca`s work, which I did not include in National Balloon. These drawings which were ruled out have never been and will never be shown.

The only thing that I did finally decide to take out of the envelope in which they are conserved is the white sheet that protects the illustrations, the same one that I used at that moment to rest my hand while drawing the series.

Jorge Satorre (1979)La intencin general (The General Intention) 2009

Jorge Satorre (1979)Mi dolmen (My Dolmen)2007-2008Intervencin temporal en el Dolmen de Funtanaccia en la isla de Crcega. De esta accin se conserva como documentacin un texto y unos dibujos realizados de memoria meses ms tarde. | Temporary intervention at the Dolmen of Funtanaccia on the island of Corsica. The action is documented in an essay and in drawings made from memory some months later.

(Inv# JS Carpeta 4)

Jorge Satorre (1979)Mi dolmen (My Dolmen)2007-2008 Intervencin temporal en el Dolmen de Funtanaccia en la isla de Crcega. El trabajo consisti en la construccin de cinco piedras de papel realizadas con extremo detalle imitando la textura y las formas de las rocas que conforman el Dolmen de Funtanaccia. Una maana, la ltima de mi estancia en la isla, coloqu las cinco piedras de papel encima y alrededor del megalito, cambiando la posicin de ellas cada determinado tiempo, simplemente para observarlas. Yo fui el nico que presenci la accin. No hubo documentacin ese da.

Tres meses despus, estando en Mxico, decid esforzarme en recordar cmo se vea ese Dolmen rodeado por mis cinco piedras, con lo cual realic un detallado dibujo. Los otros dibujos, acompaado de texto, es todo lo que logr recordar durante un da en relacin con mi estancia en Crcega. Las pequeas imgenes dentro de los crculos representan vivencias, los valos son sueos tenidos en la isla y los rectngulos, referencias artsticas y literarias.

Ante mi decisin de no entrometerme en la historia de la isla, intent intervenir nicamente en la percepcin que tena con respecto al sitio. Y el dibujo que realic no es el Dolmen de Funtanaccia, es mi Dolmen.

Temporary intervention at the Dolmen of Funtanaccia on the island of Corsica. The work consisted of building five paper stones produced in minute detail, imitating the texture and shapes of the rocks configuring the Dolmen of Funtanaccia, which is near the place where I was staying. One morning, the last one of my sojourn on the island, I placed the five paper stones on top of and around the megalith, changing their position every so often, simply to observe them. I was the only one who witnessed the action. No documentation was made that day.

Three months later, in Mexico, I decided to do my utmost to remember what the Dolmen looked like surrounded by my five false stones, and then I made a detailed drawing. The other drawing accompanied by text is all I managed to remember during one day in connection with my sojourn in Corsica. The small images inside the circles represent experiences, the ovals are dreams I had on the island and the rectangles are artistic and literary references.

Before my decision not to meddle in the history of the island, I tried to intervene only in my perception of the place. And the drawing I made is not the Dolmen of Funtanaccia but my Dolmen.

Jorge Satorre (1979)The Barrys Van Tour2007DVD, monochannel en loop, storyboard, documentacin y texto | DVD, loop monochannel, storyboard, documentation and text1333

(Inv# JS Carpeta 1)

Jorge Satorre (1979)The Barrys Van Tour2007 Proyecto realizado en colaboracin con la comunidad de Sherkin, una pequea isla de 90 habitantes en West Cork, Irlanda. El protagonista de este trabajo es Barry, un joven pescador muy querido en la isla que muri de manera prematura en el ao 2002. Desde el da de su muerte, la furgoneta que utilizaba para desplazarse dentro de Sherkin ha permanecido aparcada en el sitio donde l la dej, con sus utensilios de pesca dentro, su taza de caf y las llaves puestas.

El vehculo sera llevado al desguace dentro de pocos meses debido a su alto grado de deterioro. Durante los ltimos aos, la familia de Barry y la comunidad en general haban impedido que la furgoneta fuera retirada, siendo as el coche abandonado ms antiguo de Sherkin. Esa repentina prdida de funcionalidad y el valor especial que los habitantes de la isla le dieron a la furgoneta, llev a hacer de ella un espontneo monumento local muy importante.

El proyecto consisti en organizar un equipo de trabajo que inclua bsicamente amigos, familiares y conocidos de Barry. Con ellos organic el desplazamiento de la furgoneta, primero en gra y luego en barco, hasta el taller mecnico ms cercano. Durante un mes se repar de manera bsica el motor, se reconstruy el chasis, se le colocaron frenos nuevos y se le cambiaron las ruedas para poder echarla a andar y volver sin necesidad de ser remolcada hasta el lugar donde estuvo aparcada durante los ltimos cinco aos. Pocos das despus la furgoneta fue retirada y llevada al desguace.

Project made in collaboration with the community of Sherkin, a small island of ninety inhabitants located in West Cork, Ireland. The main character in this work is Barry, a young fisherman well loved on the island who died five years ago. Since the day of his death the van he used to travel around the island remains parked on the site where he left it, with his fishing utensils, his coffee mug and the keys still inside.

A few months later, on account of its dilapidated condition, the van was to be taken to the scrapyard. Over the past few years, Barrys relatives and the community had prevented its removal from the island, as a result of which it had become the oldest abandoned vehicle on Sherkin. Its sudden loss of functionality and the special meaning that the van had acquired in the eyes of the community turned the vehicle into a spontaneous meaningful local monument.

The project consisted in several stays on the island over a five-month period in order to gain the confidence of its inhabitants. I eventually set up a work team that basically included Barrys relatives, friends and acquaintances, with whom we planned moving the van, with the help of a tow truck and a boat, to the nearest garage. For about a month basic repairs were carried out on the engine and the chassis, new brakes were fitted and the tyres were changed so it could start running and return to its original site on the island without having to be towed. A few days later the van was taken to the scrapyard.

Jorge Satorre (1979)El encuentro (The Encounter)200717 dibujos en papel y proyeccin a tiempo real | 17 drawings on paper and real time video. 21 x 14.5 cm c/u (8.27 x 5.71 inches each)

(Inv# JS Carpeta 5)

Jorge Satorre (1979)El encuentro (The Encounter)2007 El Encuentro consiste en la realizacin ininterrumpida durante una noche de una serie de ilustraciones tomando como punto de partida el razonamiento absurdo de la novela La cada de Albert Camus. La larga duracin de mi presentacin hizo prcticamente imposible la apreciacin entera del evento, dando ms importancia al esfuerzo obstinado y mecnico en s que a un posible resultado final.

Las imgenes son libres interpretaciones provenientes de experiencias y referentes personales, haciendo nfasis en los conceptos morales recurrentes en la obra general de Camus como son culpa, justicia, libertad, suicidio, duplicidad humana, existencia absurda, etc. Cada una de las ilustraciones representa los pliegues encontrados en toda lectura, donde autor, personajes y lector se cruzan y dialogan a partir de ese proceso en donde sus respectivas personalidades se desdoblan para coincidir en una misma experiencia.

Durante el evento, una pequea cmara de vdeo registraba mi mano dibujando al mismo tiempo que se proyectaba en tiempo real en un muro de la misma sala.

The Encounter consists of the uninterrupted making of a series of illustrations during one night, taking as a point of departure the absurd reasoning of the novel The Fall by Albert Camus. The long duration of my presentation made appreciation of the entire event practically impossible, granting more importance to the obstinate and mechanical effort in itself than to a possible end result.

The images are free interpretations of references and personal experiences, placing emphasis on recurrent moral concepts in the work of Camus, such as sin, justice, freedom, suicide, human duplicity, absurd existence, etc. Each illustration is a representation of those moments in reading when author, characters and reader meet and engage in dialogue starting from the process in which their respective personalities split and coincide in one and the same experience.

During the event, a small video camera recorded my hand drawing, which was simultaneously projected in real time on a wall in the same hall.

Jorge Satorre (1979)National Balloon200646 dibujos y 13 diapositivas en bucle | 46 drawings and 13 looped slides 21 x 30 cm (8.27 x 11.81 inches)

(Inv# JS Carpeta 3)

Jorge Satorre (1979)National balloon2006 Durante el mes de Septiembre del 2006 realic un viaje a Los Angeles, Ca. en bsqueda de detalles, rastros y secuelas en torno al mtico performance Shoot realizado hace 35 aos por Chris Burden.

El 19 de noviembre de 1971 el artista Chris Burden realiz la performance Shoot en la galera F-Space en Santa Ana, California. La obra consisti en pedirle a un amigo suyo que le disparara en el brazo izquierdo con un rifle de calibre 22. De ese evento sobrevive una grabacin de 8 segundos de duracin y unas pocas fotografas.

Burden en sus primeras performances dej muy en claro lo que l llamaba audiencias primarias y secundarias, las primeras eran aquellas que presenciaban el acto y las segundas las que lo haban ledo o escuchado. La mezcla de escaso registro documental en sus acciones, la seleccin de testigos, el paso del tiempo y los rumores suscitados provoc un tipo de trabajo que hasta la fecha se difunde primordialmente de modo legendario.

Esa performance y sus secuelas fueron la base para desarrollar el trabajo que ahora presento. Mi intencin era buscar maneras de saltar simblicamente mi papel de espectador ausente, pasivo y lejano por medio de la recuperacin de ese evento citado utilizando mi propia experiencia; convirtindome as de forma figurada ytemporal en espectador presencial.

El proyecto comenz con la simple intencin de mantener una conversacin-entrevista con el mismo Burden pero fue evolucionando al ir virando poco a poco mi atencin hacia todos los elementos encontrados en el complicado proceso de convencimiento al artista. Finalmente lleg un punto donde, sin perder de vista el objetivo inicial, estos elementos recopilados en cada uno de los encuentros con personas allegadas a esta historia, la informacin recabada, la visita a lugares relacionados y el mismo viaje que hice con motivo de esta bsqueda se volvieron los ingredientes del trabajo. Por lo tanto National Balloon no slo se basa en Shoot sino tambin en sus diversas secuelas, en los rastros que han quedado, en las interpretaciones creadas y en las respuestas posteriores a estas por parte del artista.

El ttulo del proyecto est basado en el nombre de la empresa dedicada a la venta e impresin de globos que actualmente se ubica en lo que hace aos era el F-Space. Siempre tuve la intencin de visitar ese lugar pero no imagin que encontrar un documento o persona que me pudiera dar una pista de su ubicacin fuera tan difcil. Esta complicacin sumada a las posteriores negociaciones para lograr acceder a la empresa hizo que la importancia de conocerla fuera creciendo.

Despus de varios intentos consegu ganarme la confianza de su dueo, Gray, para que me permitiera recorrer el interior del local y concederme el tiempo necesario para relatarle lo que haba sucedido ah hace 35 aos. La conversacin que mantuvimos me dej ver que ese encuentro haba despertado en l una gran curiosidad; imagin que a partir de ese da, la idea que Gray tendra de ese sitio no sera la misma as como tambin me di cuenta de que mi lectura de Shoot haba cambiado. Esos das de viaje y todos los elementos encontrados se haban relacionado indisociablemente con el vdeo, las fotos y textos que conoca acerca de la performance.

La documentacin que qued de esta experiencia consta de algunas fotografas tomadas durante mi exploracin en National Balloon as como una seleccin de 44 dibujos de sitios, recuerdos, interpretaciones, conversaciones y personajes involucrados a lo largo de todo el proyecto. Estas imgenes no pretenden contar una historia de manera lineal, todas ellas constituyen la documentacin subjetiva de una experiencia en torno a un evento concreto.

Jorge Satorre (1979)National balloon2006 During the month of September of 2006 I made a trip to Los Angeles, California, in search of details, traces and consequences of the legendary performance Shoot carried out by Chris Burden thirty-five years ago.

On 19 November 1971, the artist Chris Burden carried out the performance Shoot at the F-Space Gallery in Santa Ana, California. The work consisted in asking a friend to shoot him in the left arm with a 22-calibre rifle. All that survives to record this event are an 8-second film and a few photographs.

In his early performances, Burden made the distinction between what he called primary and secondary audiences very clear: the former were those who witnessed the event, the latter those that heard or read about it. The combination of this lack of documentation on the performances, his selection of witnesses, the passing of time and the rumours they awakened brought into being a type of work which has been spread, to date, primarily in the form of legend. The performance Shoot and the fallout from it formed the basis for the work I now present. My intention was to find ways of symbolically overcoming my role as an absent, passive, distant spectator by using my own experience to recover the performance, becoming, in a figurative and temporary way, a live spectator.

The project started out with the simple aim of having a conversation or interview with Burden himself but, as it evolved, my attention strayed more and more towards the elements that were thrown up during the complicated process of trying to persuade the artist to agree. I finally reached a point at which, without losing sight of my initial objective, these elements that I had gathered from all my meetings with people connected to the story, the information I had compiled, my visits to places associated with the performance and the very journey I made as part of my quest became the ingredients for my work. For this reason, National Balloon is based not only on Shoot but also on the fallout from it, the traces that remain from it, the interpretations that have sprung up and the artists response to them.

The projects title is taken from the name of the company which now occupies the premises that housed the F-Space gallery all those years ago, and which is engaged in printing and selling balloons. I had always meant to visit this place, but I never imagined that it would be so difficult to find a document or person that would give me a clue as to its whereabouts. This complication, added to all the negotiations necessary to visit the company, made it more and more important to me to go there.

After several attempts, I finally managed to persuade the company owner, Gray, to let me look around the premises and to grant me the time I needed to tell him what had happened there thirty-five years before. During our conversation, I saw that he had become most curious about it all, and I thought that from that day on the place would never again seem the same to him. I also realised that my own reading of Shoot had changed. The time I had spent travelling and all the elements I had found had become inextricably related to the video, the photos and the texts on the performance that I was familiar with.

The documentation from this experience consists of some photographs I took during my exploration at National Balloon and a selection of forty-four drawings of sites, memories, interpretations, conversations and people involved over the course of the project. These images are not intended to tell a story in a linear way; rather, they form the subjective documentation behind an experience revolving around a specific event.

Jorge Satorre (1979)17-05-062006290 dibujos insertos en Ergo Sum y edicin de 20 cuadernos de 290 pginas. Impresin xerogrfica, encuadernacin manual | 290 drawings inserted in Ergo Sum and edition of 20 books of 290 pages. Xerographic printing, manual bookbinding.Dibujos: 29.5 x 21 cm c/u (Drawings: 11.61 x 8.27 inches each)

(Inv# JS Carpeta 6)

Jorge Satorre (1979)17-05-062006 Trabajo realizado para la publicacin Ergo Sum, un proyecto del artista Erick Beltrn. La estructura inicial del impreso, la cual fue evolucionando conforme avanzaba el trabajo, respetaba en cierta medida las secciones clsicas de un peridico. La parte que se me asign fue la de deportes.

Justo en los das en que recib la propuesta de colaboracin se difundi en la prensa la polmica noticia del supuesto arreglo de partidos en el torneo de ftbol italiano durante la temporada de 2004-2005 en donde estaban involucrados importantes equipos como la Juventus, el AC Miln, la Fiorentina o el Lazio. En esas mismas fechas se preparaban los equipos del Bara y el Arsenal para disputar la final de la Champions League 06.

Mi trabajo consisti en representar dicho partido por medio de dibujos, respetando la manera en que los directores tcnicos de los equipos planean y comunican los movimientos a sus jugadores justo antes de entrar a la cancha. Este registro se hizo de una manera extremadamente detallada, desde el primer minuto del partido hasta el ltimo. En los dibujos se puede ver el recorrido total del baln, los movimientos de los jugadores implicados en la jugada de ese momento, faltas, fuera de lugar, amonestaciones y goles.

Work made for the publication Ergo Sum, a project by artist Erick Beltrn. To a certain degree, Its initial structure, which evolved as the work progressed, observed the classical sections of a newspaper. I was assigned the sports section.

Precisely at the time when I received the offer to collaborate, the polemical information about the supposed fixed matches in the Italian football competition during the 2004-2005 season came to light, implicating major teams such as Juventus, AC Milan, Fiorentina and Lazio. Around the same dates, the Barcelona and Arsenal teams were preparing to compete in the final of the 2006 Champions League.

My work consisted of representing that match in drawings, respecting the way in which the team managers plan the different movements and convey them to their players just before they enter the pitch. This recording was extremely detailed, from the first minute of the match till the last, and the drawings show the whole trajectory of the ball, the actions of the players involved in each move, the fouls, offsides, cautions and goals.

Jorge Satorre (1979)Windows Blowing Out2005DVD, monochannel en loop, 2000 posters | DVD, Loop monochannel, 2000 posters.6 44

(Inv# JS Carpeta 2)

Erick Beltrn (1974)Windows Blowing Out2005

Basndome en una accin realizada en Nueva York en 1976 por Gordon Matta Clark titulada Windows Blow Out surge la idea y el ttulo para este proyecto, el cual consisti en la recuperacin, de una manera casi teatral, de esta obra referencial a partir de la construccin de tres ventanas a medida para una vieja casa abandonada cerca del pueblo de Skibbereen, en West Cork, Irlanda, en donde fui invitado a desarrollar un proyecto. Se instalaron y se lanzaron piedras contra sus vidrios. Inmediatamente despus las ventanas fueron retiradas dejando la casa en su estado original.

Al recrear el acto original recuper y asimil ese proceder simple de Matta Clark, as como la intencin de sustituir un modelo de obra de arte de orientacin visual por uno basado en el mundo del trabajo donde los procesos adquieren especial importancia y primordialmente, la manera en que esta obra en especfico, en la que baso mi propuesta, ha sobrevivido. Me refiero al carcter legendario adquirido a partir de la mezcla de diversos factores como es la espectacularidad del evento, la ausencia de testigos y la escasa documentacin e informacin que se conserva acerca del evento.

The idea for this project is based on an action performed by Gordon Matta Clark in 1976 entitled Windows Blow Out, which consisted in recovering, almost theatrically, this referential work through the construction of three windows, made to measure, to be installed in an old abandoned house near the town of Skibbereen in West Cork, Ireland, where I was invited to carry out a site-specific project. The windows were installed and then stones were thrown against their panes, after which the windows were removed leaving the house in its original condition.

By recreating the original act I recovered and assimilated Matta Clarks simple procedure and his endeavour to replace the model of a visually oriented artwork with a model based on the world of labour where processes acquire a fundamental importance. The way this piece on which I base my proposal has survived is particularly to the point. Im referring specifically to the legendary aspect the work has acquired from the combination of features such as the spectacular nature of the action, the absence of witnesses and the scarce documentation and information preserved of the event.

Jorge Satorre (1979)Trabajo importante (Important Work)200424 dibujos a tinta sobre papel | 24 drawings ink on paper21 x 29.7 cm c/u (8.27 x 11.69 inches each)

(Inv# JS Carpeta 7)

Jorge Satorre (1979)Trabajo importante (Important Work)2004

Durante la ltima dcada el barrio de Poblenou en Barcelona se ha visto afectado por un salvaje plan urbanstico en donde cientos de fbricas y edificios han sido demolidos para ser sustituidos por lujosos complejos habitacionales y comerciales.

Entre el ao 2003 y 2005 mi estudio estaba ubicado en una de las zonas ms perjudicadas del barrio. Mientras colectivos de compaeros artistas se organizaban para manifestarse en conjunto con las comunidades de vecinos, yo decid realizar una serie de acciones personales. Una de ellas fue Trabajo Importante que consisti en recuperar de una casa demolida cercana una de sus vigas de madera de 4 metros y medio de largo para despla-zarla a mi estudio y durante aproximadamente un mes dedicarme a fragmentarla de manera lenta. El proceso lo registr con una serie de dibujos.

During the last decade the district of Poblenou in Barcelona has been affected by a wild urban plan where hundreds of factories and buildings have been demolished to be replaced by luxurious residential and commercial complexes.

Between the year 2003 and 2005 my studio was located in one of the more affected zones of the district. While collective of artists organized themselves to pronounce alto-gether with neighbor communities, I decided to carry out a series of personal actions. One of them was Important Work that consisted in recovering from a demolished house near of my studio one of it wood beams and, during approximately a month, I fragmented it in a slow way. I registered the process with a series of drawings.

Jorge Satorre (1979)

Los negros II (Ladrillos) | The Blacks II (Bricks)2012

Marcador y lpiz sobre papel, ladrillo y cemento | Marker and pencil on papel, brick and cement

1/1 fragmentos de ladrillo | 1/1 brick fragments4 obras enmarcadas (dibujos) | 4 framed works (drawings)1: obra enmarcada integrada por 4 dibujos 9 x 14 cm (3.54 x 5.51 inches) c/u 25.5 x 35.5 x 13.5 cm (10.04 x 13.98 x 5.31 inches framed)2: Dibujo a color 28 x 35.5 x 13.5 (11.02 x 13.98 x 5.31 inches) 35 x 42.5 x 3.5 cm con marco (13.78 x 16.75 x 1.38 inches framed)3: Dibujo a color 28 x 35.5 x 13.5 cm (11.02 x 13.98 x 5.31 inches) 35 x 42.5 x 3.5 cm con marco (13.78 x 16.73 x 1.38 inches framed)

Jorge Satorre

Mxico D.F., 1979

Prximas exhibiciones y residencias Ir para volver. 12a Bienal de Cuenca. Cuenca, Ecuador (cur. por Jacopo Crivelli Visconti) Una mquina desea instrucciones como un jardn desea disciplina. Frac Lorraine. Metz, France/ MARCO. Vigo. Espaa Educacin - Programas de artista en residencia - Casa Vecina. Ciudad de Mxico. 2011 - Gasworks. Londres. Reino Unido. 2010 - Le Pavillon. Palais de Tokyo. Pars, Francia. 2007-08 - ARP. Irish Museum of Modern Art. Dublin, Irlanda. 2007 - HANGAR. Barcelona. Espaa. 2003-05 - Universidad Autnoma Metropolitana-Azc. Ciudad de Mxico. Licenciado en Diseo de la Comunicacin grfica. 1997-2001 Exhibiciones individuales 2014 El retroceso. Galera LABOR. Mxico D.F., Mxico 2013 Halfhouse. Barcelona, Espaa 2012 Zona Maco Sur. Mxico DF. (comisariado por Patrick Charpenel) 2011 Art Basel Miami. Art positions. Miami, Estados Unidos

La Part Maudite Illustre. FIAC. Pars, Francia Modelling Standard. Casa Vecina (con Erick Beltrn). Mxico D.F.

2010 La Verdad Divina. Galera LABOR. Mxico D.F. Modelling Standard. FormContent (con Erick Beltrn). Londres, Inglaterra The indirect gaze. Le Grand Caf. St. Nazaire, Francia Centro Cultural Montehermoso Kulturunea (Arte e investigacin 09). Vitoria, Espaa

2009 ARCO. Madrid, Espaa 2008 The Happy Failure. Galerie Xippas. Pars, Francia 2007 The Barrys Van Tour. West Cork Arts Centre. Skibbereen, Irlanda

The Happy Failure. The process room. Irish Museum of Modern art. Dubln, Irlanda

2006 Ejercicios. La Casa Encendida. Madrid, Espaa

Exhibiciones colectivas 2013 Sin Motivo aparente. CA2M. Mstoles, Madrid. Espaa (comisariado por

Javier Hontoria) 2012 1 Bienal de Montevideo. Uruguay (comisariado por Alfons Hug)

Prairies. Les Ateliers de Rennes. Rennes, Francia (comisariada por Anne Bonnin) L'Homme de Vitruve. Le Crdac. Ivry. Francia (comisariada por Claire Le Restif) L'archologie, un mythe contemporain. La Tolerie. Clermont-Ferrand. Francia (comisariada por Alexandra Fau) This and there. Fondation d'enterprise Ricard. Paris (comisariada por Claude Closky) Resistiendo el presente. Muse d'Art moderne de la Ville de Paris/ARC. Pars (comisariado por Angeline Scherf y ngeles Alonso Espinosa) Pobre artista rico. Casa del Lago. Mxico DF. (comisariado por Willy Kautz) Un ojo, dos ojos, tres ojos. Casa Vecina. Mxico DF. (comisariado por Uqbar) Anomalia. University Art Gallery UCSD. San DIego, Ca. (comisariado por Luca San Roman)

2011 Modelling Standard. Galera Joan Prats. Barcelona. (exposicin

colectiva comisariado por Jorge Satorre y Erick Beltrn) Inserting new considerations into the historical narrative, the institution and the audiences. Plevnik Kronkowska Gallery. Celje, Eslovenia. (comisariado por Juan de Nieves) Resistiendo el presente. Museo Amparo, Puebla. Mxico. (comisariado por Angeline Scherf y ngeles Alonso Espinosa) Robert Smithson in Emmen - Broken Circle/Spiral Hill Revisited The Ultraperiferic. CBK, Emmen. Holanda (comisariado por Theo Tegelaers) La cuestin del paradigma. La Panera. Lleida. Espaa (comisariado por Manuel Segade) Seres inanimados. La Casa Encendida. Madrid (comisariado por Brbara Rodriguez) 5x5 Premio internacional de arte contemporneo Diputacin de Castelln. EACC. Castelln. Espaa (seleccionado por Dora Garca) Fat chance to dream. Galera Maisterra Valbuena. Madrid (comisariado por Tania Pardo) The circulating actions of things. Bard College. Annandale-on-Hudson. New York (comisariado por Manuela Moscoso) Songs of the Swamp. Kunsthalle Exnergasse. Viena. Austria. (comisariado por Hilary Koob-Sassen)

2010 Antes que todoCA2M. Mstoles, Madrid. Spain (comisariado por Manuela

Moscoso y Aimar Arriola) Portscapes. Museum Boijmans van Beuningen. Rotterdam. Holanda. (organizado por SKOR y comisariado por Latitudes y Theo Tegelaers) The moles horizon. Bozar. Bruselas, Blgica (comisariado por Ruth

Estevez) Programa Bancomer-MACG-Arte Actual. Museo de Arte Carrillo Gil. Mxico DF (comisariado por Ruth Estevez e Itzel Vargas)

2009 Instantan (75) : Plus gnral en particulier, FRAC Pays de Loire,

Carquefou, Francia Labor, labor. Galera Labor. Mxico DF Juntos acordaron adelantar el oscurecer. Fundacin Sa Nostra. Palma de Mallorca (comisariado por Patricia Esquivias y Manuela Moscoso) El Progreso habitado. Museo de Arte Moderno. Mxico DF (comisariado por Victor Palacios)

2008 Re-Construction. 3th Young Artists Biennial. Bucharest. Rumania

(comisariado por Ami Barak) Down by law. Galerie Crvecoeur. Pars (comisariado por Alix Dionot Morani) Hacia/Desde Mxico DF. Instituto Cervantes. Estocolmo, Suecia / Pars, France (comisariado por Marti Manen) Palimpseste, un bon pre-texte. Galerie Xippas. Pars (comisariado por Franois Quintin) Aves en la luna, Poticas de la diferencia y otros lugares imaginarios. Casa del Lago. Mxico DF (comisariado por Itzel Vargas) ((( ))) Transpalette. Bourges, Francia (comisariado por Fabienne Fulcheri) 25 Aniversario. Galera OMR. Mexico city Pavillon 7. Palais de Tokyo. Pars (comisariado por Judicael Lavrador) Old News 4. CGAC, Santiago de Compostela; Midway Contemporary Art, Minneapolis; Museo de Arte Carrillo Gil. Mxico DF (comisariado por Jacob Fabricius)

2007 Muestra Injuve. Crculo de Bellas Artes. Madrid (comisariado por

Armando Montesinos) Por favor, gracias, de nada. Reenactments. Casa del Lago. Mxico DF (comisariado por Victor Palacios) La noche en blanco (performance). Espacio Cultural Conde Duque. Madrid (invitado por Manuela Moscoso) Pleins Phares. Cit de lautomobile, Muse National. Collection Schlumpf. Mulhouse, Francia (comisariado por Fabienne Fulcheri) Symposium Banquet (performance). Project Arts Centre. Dublin, Irlanda (comisariado por Tessa Giblin)

2006 Barcelona Produccin. La Capella. Barcelona (comisariado por Valent

Roma y Amanda Cuesta) Paperback. CGAC. Santiago de Compostela; MARCO. Vigo; Fundacin Luis Seoane. A Corua. Espaa (comisariado por Amanda Cuesta) XLIII Certamen Internacional darts plstiques. Museo de Pollena. Pollena, Mallorca, Espaa

2005 Algunos libros de artista. Galera Projecte SD. Barcelona (comisariado

por Silvia Dauder) Living Landscape. West Cork Arts Centre. Skibbereen, Irlanda (comisariado por Therry Rudin)

2004 IV bienal de Vic. Barcelona

Institutional Flirts. FLACC. Genk, Blgica (comisariado por Steven Op de Beck)

Trabajos en publicaciones 2011 "El hallazgo del miembro fantasma". Historieta en colaboracin con

Erick Beltrn, Gonzalo Martr y Jorge Avia. Producido por Casa Vecina.

2009 Nmero Cero 4. 2da Trienal Poli/grfica de San Juan: Amrica Latina y el Caribe. Puerto Rico (comisariado por Magali Arriola) Piaxtla indiciaria. Revista Roulotte. Espaa

2008 The Visit. Specific project for Sang-bleu magazine. (comisariado por Emanuelle Antille)

2007 Old news 4. A Jacob Fabricius project (IInvitado por Amanda Cuesta) 2006 National Balloon. La Capella, Barcelona

17-5-2006. Specific work for Ergo sum, un proyecto de Erick Beltrn 2004 Trabajo Importante. HANGAR. Barcelona Premios

Marcelino Botn. Espaa. 2010-11 Cajasol. Espaa. 2009-10 Arte e investigacin. Centro Cultural Montehermoso Kulturunea. Vitoria, Espaa. 2009-10 Programa Bancomer-MACG-Arte Actual, Mxico DF. 2009 Primer premio. Premio Injuve. Espaa. 2007 Beca de formacin en el extranjero. Ministerio de Cultura de Espaa. 2007-08 Fondos para creadores en residencia. Departamento de Cultura de la Generalitat de Catalua. Espaa. 2007. Barcelona Produccin. La Capella. Barcelona. 2006 Primer premio. Modalidad proyecto. Premio Miquel Casablancas. Barcelona. 2006 Primer premio. Cuarta Bienal de VI. Espaa. 2004

Colecciones Frac des Pays de la Loire. Francia Fundacin / Coleccin Jumex. Mxico Museo Universitario de Arte Contemporneo de la UNAM. Mxico Museo Amparo. Mxico De Bruin-Heijn Collection. Holanda Centro de Arte 2 de Mayo. Espaa Museum of Old and New Art (MONA). Tasmania, Australia Davis Museum. Estados Unidos

Jorge Satorre

Mexico city, 1979

Forthcoming exhibitions XII Bienal Internacional de Cuenca. Ecuador (curated by Manuela Moscoso and Jacopo Crivelli) Una mquina desea instrucciones como un jardn desea disciplina. Frac Lorraine. Metz, France (cur. by Catalina Lozano) (Solo) Education - Artists-in-residence programs (selection) - Casa Vecina. Mexico city. 2011 - Gasworks. London. UK. 2010 - Le Pavillon. Palais de Tokyo. Pars, France. 2007-08 - ARP. Irish Museum of Modern Art. Dublin. Ireland. 2007 - HANGAR. Barcelona. Spain. 2003-05 - Universidad Autnoma Metropolitana-Azc. Mexico city. Graphic communication studies. 1997-2001 Solo exhibitions 2014 El retroceso (Recoil). LABOR Gallery. Mexico City, Mexico. 2013 Halfhouse. Barcelona, Spain 2012 Zona Maco Sur. Mexico DF. ((curated by Patrick Charpenel) 2011 Basel Miami. Art positions. Miami

FIAC. Paris Modelling Standard. Casa Vecina (with Erick Beltrn). Mexico city (invited by Willy Katz)

2010 Divine truth. Labor Gallery. Mexico city Modelling Standard. FormContent (with Erick Beltrn). London (curated by Catalina Lozano) The indirect gaze. Le Grand Caf. St, Nazaire. France (curated by Sophie Legrandjaques) Centro Cultural Montehermoso Kulturunea (Arte e investigacin 09). Vitoria, Spain

2009 ARCO. Madrid 2008 The Happy Failure. Galerie Xippas. Paris 2007 The Barrys Van Tour. West Cork Arts Centre. Skibbereen, Ireland

The Happy Failure. The process room. Irish Museum of Modern art. Dubln, Ireland

2006 Ejercicios. La Casa Encendida. Madrid

Group exhibitions 2013 Una mquina desea instrucciones como un jardn desea disciplina. Frac

Lorraine. Metz, France/ MARCO. Vigo. Spain (curated by Catalina Lozano) Sin Motivo aparente. CA2M. Mstoles, Madrid. Spain (curated by Javier Hontoria)

2012 1st Montevideo Biennial. Montevideo, Uruguay (curated by Alfons Hug)

Prairies. Les Ateliers de Rennes. Rennes, France (curated by Anne Bonnin) L'Homme de Vitruve. Le Crdac. Ivry. France (curated by Claire Le Restif) L'archologie, un mythe contemporain. La Tolerie. Clermont-Ferrand. France (curated by Alexandra Fau) This and there. Fondation d'enterprise Ricard. Paris (curated by Claude Closky) Pobre artista rico. Casa del Lago. Mexico city. (curated by Willy Kautz) Un ojo, dos ojos, tres ojos. Casa Vecina. Mexico city. (curated by Uqbar) Resisting the present. Muse d'Art moderne de la Ville de Paris/ARC. Paris (curated by Angeline Scherf and ngeles Alonso) Anomalia. University Art Gallery UCSD. San DIego, Ca. (curated by Luca San Roman)

2011 Modelling Standard. Galera Joan Prats. Barcelona. (group show curated

by Jorge Satorre and Erick Beltrn) Inserting new considerations into the historical narrative, the institution and the audiences. Plevnik Kronkowska Gallery. Celje, Eslovenia. (Curated by Juan de Nieves) Resisting the present. Museo Amparo, Puebla. Mexico. (curated by Angeline Scherf and ngeles Alonso Espinosa) Robert Smithson in Emmen - Broken Circle/Spiral Hill Revisited The Ultraperiferic. CBK, Emmen. Holland La cuestin del paradigma. La Panera. Lleida. Spain (curated by Manuel Segade) Seres inanimados. La Casa Encendida. Madrid (curated by Brbara Rodrguez) 5x5 Premio internacional de arte contemporneo Diputacin de Castelln. EACC. Castelln. Spain (selected by Dora Garca) Fat chance to dream. Galera Maisterra Valbuena (curated by Tania Pardo) The circulating actions of things. Bard College. Annandale-on-Hudson. New York (curated by Manuela Moscoso) Songs of the Swamp. Kunsthalle Exnergasse. Viena. Austria. (Curated by Hilary Koob-Sassen)

2010 Antes que todoCA2M. Mstoles, Madrid. Spain (curated by Manuela

Moscoso and Aimar Arriola)

Portscapes. Museum Boijmans van Beuningen. Rotterdam. Holland. (organized by SKOR and curated by Latitudes and Theo Tegelaers) The moles horizon. Bozar. Brussels, Belgium (curated by Ruth Estevez) Programa Bancomer-MACG-Arte Actual. Museo de Arte Carrillo Gil. Mxico city (curated by Ruth Estevez and Itzel Vargas)

2009 Instantan (75) : Plus gnral en particulier, FRAC Pays de Loire,

Carquefou, France Labor, labor. Labor gallery. Mexico city Juntos acordaron adelantar el oscurecer. Fundacin Sa Nostra. Palma de Mallorca (curated by Patricia Esquivias and Manuela Moscoso) El Progreso habitado. Museo de Arte Moderno. Mexico city (Curated by Victor Palacios)

2008 Re-Construction. 3th Young Artists Biennial. Bucharest. Rumania

(Curated by Ami Barak) Down by law. Galerie Crvecoeur. Paris (Curated by Alix Dionot Morani) Hacia/Desde Mxico DF. Cervantes institute. Stockholm, Suecia / Paris, France (Curated by Marti Manen) Palimpseste, un bon pre-texte. Galerie Xippas. Paris (Curated by Franois Quintin) Aves en la luna, Poticas de la diferencia y otros lugares imaginarios. Casa del Lago. Mexico city (Curated by Itzel Vargas) ((( ))) Transpalette. Bourges, France (Curated by Fabienne Fulcheri) 25 Aniversario. Galera OMR. Mexico city Pavillon 7. Palais de Tokyo. Paris (Curated by Judicael Lavrador) Old News 4. CGAC, Santiago de Compostela; Midway Contemporary Art, Minneapolis; Museo de Arte Carrillo Gil. Mexico city (Curated by Jacob Fabricius)

2007 Muestra Injuve. Crculo de Bellas Artes. Madrid (Curated by Armando

Montesinos) Por favor, gracias, de nada. Reenactments. Casa del Lago. Mexico city (Curated by Victor Palacios) La noche en blanco (performance). Espacio Cultural Conde Duque. Madrid (Invited by Manuela Moscoso) Pleins Phares. Cit de lautomobile, Muse National. Collection Schlumpf. Mulhouse, France (Curated by Fabienne Fulcheri) Symposium Banquet (performance). Project Arts Centre. Dublin, Ireland (Curated by Tessa Giblin)

2006 Barcelona Produccin. La Capella. Barcelona (Curated by Valent Roma

and Amanda Cuesta) Paperback. CGAC. Santiago de Compostela; MARCO. Vigo; Fundacin Luis Seoane. A Corua. Spain (Curated by Amanda Cuesta) XLIII Certamen Internacional darts plstiques. Museo de Pollena. Pollena, Mallorca, Spain

2005 Algunos libros de artista. Galera Projecte SD. Barcelona (Curated by

Silvia Dauder) Living Landscape. West Cork Arts Centre. Skibbereen, Ireland (Curated by Therry Rudin)

2004 IV bienal de Vic. Barcelona

Institutional Flirts. FLACC. Genk, Belgium (Curated by Steven Op de Beck)

Grants 2010-11 Marcelino Botn. 2009-10 Cajasol grant for art visual projects. Spain. Art and research. Centro Cultural Montehermoso Kulturunea. Vitoria, Spain. 2009 Programa Bancomer-MACG-Arte Actual, Mexico City 2007-08 Beca de formacin en el extranjero. Ministerio de Cultura de Espaa. 2007 First prize. Premio Injuve. Spain. Fondos para creadores en residencia. Departamento de Cultura de la Generalitat de Catalua. Spain 2006 Barcelona Produccin. La Capella. Barcelona. First prize. Project modality. Premio Miquel Casablancas. Barcelona. 2004 First prize. Fourth Vic biennale. Spain. Collections Frac des Pays de la Loire. France Fundacin / Coleccin Jumex. Mexico Museo Universitario de Arte Contemporneo de la UNAM. Mexico Museo Amparo. Mexico De Bruin-Heijn Collection. Holland Centro de Arte 2 de Mayo. Spain Museum of Old and New Art (MONA). Tasmania, Australia Davis Museum. United States

Saint-NazaireJorge SatorreThe Indirect Gaze

Curator: Sophie LegrandjacquesAfter being developed during his tenure as an editorial illustrator, Jorge Satorres work recuperates and perverts the methods proper to that field, wherein the tacit relationships established between creator, story, image and reader/viewer serve as a point of departure for relating to and intervening in the places where his work develops.

Jorge Satorres way of working, rooted in an evident enjoyment of narrative, comes from historical and oneiric inquiry, detective work and poetic reread-ing. The artist lays claim to the freshness of the experimental, foreground-ing the research process and effort that it involves. His usual modes of presentation (drawings, videos, performances) work by suggestion: tools for recovering a memory rather than faithful documents that would allow an event or the history of a place to be retraced. They function as subjective attempts at interpretation and which afford a kind of work that exists based more in the possibilities of oral communication than in its visual elements.His drawings and films are thus considered as hybrid receptacles, emotionally very highly charged, weighing up the phenomena of migration (of populations, of objects) and mutation (functional and symbolic) that regulate our world.In Saint-Nazaire Jorge Satorre will renew with his 2010 residence and exhibit a particular group of works closely tied to the geographical context and the relationship between the port and its past.

An astronomical method for detecting planets beyond the solar system called the indirect gaze provides the title of the exhibition, as well as of one of the included pieces. Since such planets are so far from Earth, they could until very recently only be discovered by studying the subtle variations in luminosity of stars oscillating nearby. Satorre uses this reference to ex-plain the ways he has approached situations in which he has had to interpret a place totally unknown to him.

The exhibition includes a review of some of the artists most relevant work, as well as the continuation of a work in progress and two new projects. One of them, La part maudite illustre functions as the axis of the group of work presented. Following a period of research in the citys archives, he gathered information with which he created a personal inventory of the ships constructed in St Nazaire and that have now disappeared. Based on this docu-mentation, a scientific illustrator painted each of these ships in detail, describing the moment at and way in which they disappeared. These images were then used in an illustrated reprint of Georges Batailles book La part

maudite (The accursed share) that was proposed by the artist. This process was detained just before printing, based on the idea of a book that remains only as potential. The offset plates, together with the paintings, constitute the final presentation of the piece.

Jorge Satorre, Mexico City, 1979. He lives in Mexico and Amsterdam. His work has been presented in individual shows at: Centro Cultural Montehermoso, Vitoria (2010); galera Xippas, Paris (2008); Process Room / Irish Museum of Modern Art, Dublin (2007) and La Casa Encendida, Madrid (2006). He is cur-rently completing a residency at Gasworks, London (project with Erick Beltrn for FormContent in September).

LE GRAND CAF, Centre dart contemporain, Saint-Nazaire (F)

Place des Quatre zhorloges, 44 600 Saint-Nazaire France T + 33 (0)2 44 73 44 00 F + 33 (0)2 44 73 44 01 [email protected] www.grandcafe-saintnazaire.fr

9 Oct 2010Jorge Satorre and Erick Beltrn: Modelling StandardReview by Maggie Grey

A poster press release at the door to Modelling Standard provides the first clue that FormContents latest exhibition might emphasise the content side of things. It proclaims the starting points for Jorge Satorre and Erick Beltrns collaboration as Carlo Ginzburgs concept of the micro-history, and sciences Standard Model used to explain interactions between sub-atomic particles. Cerebral stuff, but its not at the expense of the visuals. The at-a-glance effect of Jorge Avinas comic-like illustrations, which form the physical content of the exhibition, is eye-catchingly energetic and intricate, and well matched to the complexity of the shows ideas. On top of a wealth of pictorial detail, every image harbours words and phrases. Difficult ones: apophenia, cognitive neuroscience, Naegely-Franceschetti-Jadassohn Syndrome. I de-cided rather quickly that I should take a little longer over my visit than planned.Satorre and Beltrn installed this exhibition in front of an audience, hast-ily pasting up the paper sheets while constructing and explaining the nar-ratives between them. Their footprints still muddy the occasional image, and I found myself wishing I could have attended. It might have helped navigate the resulting, bewildering detective plot of references, presented as a sort of comic book drawing-board. It features a murder (Sherlock Holmes vs. Fantmas - a story in which Holmes is the victim), and aspects of detective investigation: definitions of the perfect crime, notes on the discovery of the fingerprint and of a physical condition which leaves certain people with-out one. Fantmas, the perfect villain (so elusive that people do not believe he exists) is evoked alongside sheets that highlight the fallibility of human recognition. A host of further scientific and academic theories addressing the physical, societal and psychological details of our lives are also thrown into the mix. Fittingly, the main protagonists of the plot are famously great minds Freud, Morelli and Arthur Conan Doyle all feature.I cannot profess to have followed much of this investigative narrative. Perhaps the artists at the opening reached a more concrete conclusion than I was able to puzzle out. Perhaps it doesnt matter: one illustration claims that the processes of investigation are as important as results. The show il-lustrates the idea that history should be taken as a set of clues rather than a series of facts, and that how we interpret these depends on how closely we look and from what angle. There are some memorable insights to that effect, my favourite being a comment on scale illustrated by a man battling a foe whose atoms fly apart to avoid any blow: A model is a metaphor depending on the scale you are reading, different particles appear. Form is a choice of scale. Look closely enough at anything and the best part of it becomes the space between its atoms.

Jorge Satorre

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