Image-As-Image

For the Image-As-Image project, Alberto Lezaca takes as a reference a series of archive images that have appeared in different media such as newspapers, magazines and art books. Ad Reinhardt in his studio in 1962, Marcel Duchamp’s studio in Paris in 1927, Kazimir Malevich’s funeral in 1935 and Mark Rothko’s studio in New York among others.

Through the use of digital modeling processes Lezaca reconstructs this series of photographs and proposes new images, seeking to reveal “the real image” that lies behind these historical archives. In the artist’s words: -This project is an exercise in memory reconstruction. I think History is a device that creates mental structures, and maybe History is just a way of inventing something that never existed.

The artists selected by Lezaca for this project have had a special relevance in the development of their practice, from the ideas of Malevich on the abstraction in the painting written in his suprematist Manifesto, the alteration of the meaning of the objects realized by Duchamp, until the mystical sense in Rothko’s painting. In the same way, the name of the project Image-As-Image is a game of words that starts from the texts written by Ad Reinhardt compiled under the name Art-As-Art.

The work of Alberto Lezaca is based on an interest and dialogue with the history of art. his approach is related to aesthetic and historical problems. Through the use of architectural models and prototypes from industrial design, Lezaca seeks to discover utopian concepts and ideas that lie behind those who project and design the spaces and objects that accompany us in our lives.

Lezaca has been interested in technological tools, especially in three-dimensional rendering engines generators of synthesis images, in which he recognizes a powerful means of creation. Understanding that the virtuality of the electronic image is presented as an “ideal and exact space” by which the world and materiality are projected.

According to Lezaca: “My practice has been influenced by the idea of prototype, understood as the original idea that starts and shapes the objects and devices that surround us. I have also been interested in language as a cultural construction; mainly in the way in which language determines and constitutes the way in which we understand reality through the construction of structures and mental categories. It is for this reason that my practice seeks to find a space where established communication systems are disarticulated and progressively disappear”.