La Llamada Caida o El Bagre - After Miguel Von Dangel
The failed call or The Bagre
23 Coton paper parts of 9 x 11 cm
El Pescado by Miguel Von Dangel.
The fish by Miguel Von Dangel.
The 23 pieces that make up this image painted, in the spacing between one and another, like grid that recalls urban structures, also suggested by the number of pieces, which matches the number of states in Venezuela, planned to display in the Capital District, completing 24 the 24 territories in the nation. The slowly moving mass is the migrant mass that moves wounded from one side of the river to the other.
The tropical sun that excites the tones of plantain trees appears covering the leaves in the form of paint, following the tradition of painters such as Miguel Von Dangel, Jacobo Borges, Felipe Noé, and Wifredo Lam, allowing the brushstroke to claim its own narrative, like a human record.
The stains that together suggest a marine figure like those that consumed Job, Jonah, and Geppetto. Galue moves in a sign-symbolic space where the layers of paint play at being map, catfish, and raft.
The work is made after The Fish by Miguel Von Dangel whose continues travels to Merida, Galue’s home town, influenced deeply the way in which he adresses Guerrilla Art, and Painting.
Non the less this piece was lost in transit to the Ibero-American Art Fair at Universidad Catolica Andres Bello in 2023 leading to a reward to who find it in Miami inside the storage room of an export shipping company.
Reward poster asking for the piece which states at its bottom the following:
BAGRE PERDIDO (or BAGRE RE PERDIDO – appears as BAGRE PERDIDO with possible spacing/artistic effect)
La llamada caída o El bagre (después de Von Dangel) .- 2023. Acrílico sobre papel de algodón 23x30 CM 23 módulos
Usando la balsa de las medusas por Gericault como estructura base, Galué convierte las figuras en una masa de color que parece moverse dentro de sí misma. 23 piezas que componen esta imagen dibujan en el espacio entre una y otra una rejilla que recuerda estructuras urbanísticas, ahora espacios que contienen la memoria de una masa que se mueve lenta sobre el espacio.
Usando El Pescado de Von Dangel, Galué convierte las figuras en una masa de color que parece moverse dentro de sí misma. Las cajas se mueven en mano a mano, chofer a chofer, aduana a aduana, guardia a guardia, refresco en refresco, y la obra-mensaje se transforma en objeto cotidiano vacío. "Ponla allá. Tráela allá" el bagre esta hundido en su propia condición de comunicación cortada esta perdida en una oficina.
10$ RECOMPENSA
09/06/2023 : El bagre-balsa viajo a Weston, Florida para salir a Venezuela. La obra existe ahora perdida en una caja USPS en el Warehouse de Liberty Express Weston a Venezuela.
La conexión con Venezuela existe interrumpida por muchos motivos. Las cajas se mueven en mano a mano, chofer a chofer, aduana a aduana, guardia a guardia, refresco en refresco, y la obra-mensaje se transforma en objeto cotidiano vacío. "Ponla allá. Tráela allá" el bagre esta hundido en su propia condición de comunicación cortada esta perdida en una oficina.
Con la imposibilidad de que el bagre-balsa llegara a su destino entre guardias, aduanas, pasaportes y refrescos que navegamos ahogó al bagre. La imposibilidad de que el bagre llegara a su destino: el cansancio ganó, la balsa se hundió, cayó la llamada. La obra esta completa. La obra se convirtió en un retrato de la Nueva Venezuela. La Venezuela inalcanzable. El sueño entre guardias, aduanas, pasaportes cual registro humano. Las manchas que navegamos en conjunto bagre figura marina.
ENG:
The Fallen Call or The Catfish (after Von Dangel) .- 2023.
Acrylic on cotton paper 9x11 in 23 modules.
Using Géricault's Raft of the Medusa as the base structure, Galué transforms the figures into a mass of color that seems to move within itself. The 23 pieces that make up this image draw, in the space between one and another, a grid that recalls urban structures, now spaces that hold the memory of a mass moving slowly across the space.
Using Von Dangel's The Fish, Galué transforms the figures into a mass of color that seems to move within itself. The boxes pass from hand to hand, driver to driver, customs to customs, guard to guard bribe to bribe , and the work-message turns into an empty everyday object. "Put it over there. Bring it over there" the catfish is now sunk in its own condition of severed communication, lost in an office.
$10 REWARD
06/09/2023: The catfish-raft traveled to Weston, Florida to depart for Venezuela. The work now exists lost in a USPS box at the Liberty Express Warehouse in Weston, bound for Venezuela.
The connection with Venezuela has been interrupted for many reasons. The boxes move from hand to hand, driver to driver, customs to customs, guard to guard, bribe to bribe, and the work-message turns into an empty everyday object. "Put it over there. Bring it over there" the catfish is sunk in its own condition of severed communication, lost in an office.
With the impossibility of the catfish-raft reaching its destination amid guards, customs, passports, and sodas that we navigate, it drowned the catfish. The impossibility of the catfish reaching its destination: exhaustion won, the raft sank, the call fell. The work is complete. The work became a portrait of the New Venezuela. The unreachable Venezuela. The dream amid guards, customs, passports—as a human record. The stains we navigate together: catfish, marine figure.
Visitor in the exhibition where a reward print was hanged among with a print of the piece (Hanged upside down - again the interrupted communication with the nation) along the conversations asking for workers to find the piece inside the office.
Ibero-american Art Fair Caracas Venezuela.
At the time the piece was made the minimum wage in Miami was $10 after taxes.
The reward is also a meditation on labor laws and interest.
Considering that the payment of an hour of labor is barely enough for a Mcdonald’s meal: Why would an employee do more than the minimum of their abilities to perform their job if doing more effort can’t cover their needs?