Ángeles Marco

Galeria Carles Taché

Out of a half-open aluminum suitcase comes a captive voice that penetrates the three exhibition rooms. The voice is that of the artist whose physical absence is thus negated. From the heights of a strategically placed iron beam, the voice appropriates the surrounding space. Its fragile materiality consists of an insistent stammering, barely recognizable as a phrase, broken by laughter that hampers its progress, forcing it to repeat the first and middle syllables of each word. The voice becomes a machine that creates “time,” each syllable representing an unequal fraction of time measured in words. Angeles Marco makes the isolated word into a tool by linking images whose relationship with reality reflects the ambiguity of the sensible world. Language allows her—whatever her model for showing the whole “wore—to substitute, or ”supplement."

This recent exhibition consisted of three series among which there was a coherent succession that complemented this semihidden voice emanating out of a dark interior from an inaccessible height. Under the generic title “Serie Suplemento” (Supplement series; all works 1992–93), various rectangular iron objects, on which iron-framed photographic negatives with texts from the artist had been placed, were grouped together. The negative acted as the reverse of visible reality, standing in for what we did not see. In “Serie presente” (Present series), another six iron objects were included, this time of a smaller size, with two loudspeakers on each one, on which Marco wrote, “yo soy yo soy yo soy yo soy . . .” (I am I am I am I am . . .), as if this were the only possible means of affirming the self. The loudspeakers allowed us to imagine that we heard the written word instead of seeing it.

The voice that guided us into the third room was uttering a four-hour-long monologue. Seven photographic images of the artist’s head hung on one of the walls, and two iron supports joined two empty walls. The itinerary of the exhibition was variable, as several paths could be followed in the company of this hermetic voice. Throughout her trajectory, Marco, besides using iron as a “support” and as a raw material, has worked with materials like rubber, coal, glass, photographic negatives, paper, and writing, and has now turned to the spoken word. This recent work is the product of years of reflecting on the uncertainty of knowledge in the face of the sensible world and its representations.

Menene Gras Balaguer

Translated from the Spanish by Vincent T Martin.