09/28/12 to 11/25/12
The objective series ‘The direct path to truth’ by Bikondoa at the Museum of the Found Object of the Antonio Pérez Foundation in San Clemente, Cuenca.


‘Alfredo Nigredo – Around the objects of Alfredo Bikondoa’, by Alfonso de la Torre.


Quiet air, slow time …. Ah, melancholy of objects!.


But, be careful, not any object: shoe, cup, cage, penknife, sand trough, wire, conch, net, stone, nail, pen or die. Auroral summa of objects always retracted on themselves seeming to carry in their memory, glowing, a strange arcane. Objects, sometimes small toys or models, which also remember the past care of a child’s dream. But why choose one object and not another, among the disconcerting panoply of them that sees the world around?


Strange voice of objects, collapsed as instants of a story in sleep. Simulacrum in the infinite space: each of the intriguing spaces created by the object. Agitated silence that inhabits the haunted house of the objects of Bikondoa. Gloom. Contemplating the objects of this artist is understood his encounter with Eastern thought. There is an air, in this encounter of various objects, of ceremony, of sacred ritual, of an attempt to gather the marvelous and the reality, the visible and the invisible, to create what Yourcenar called the feeling of the immense invisible and incomprehensible that surrounds us.


This is not the dust that sweeps away Morandi’s pots until they melt in the lukewarmness of the melodious forms, but rather the suspended air of alchemy, the iridescent tension of the objects which, soon, glistening, will become another matter. Air of blazing sparks, rather than dust asleep. A meeting of the forms of the universe, but not inert matter, but rather the hermetic ardor of the stillness that precedes the vibration of what has not been seen before, as if Bikondoa remembered that absorbed encounter of objects along with the search for So far unknown to the knowledge.


To see, to create, is to raise questions, and one of the most disturbing is precisely the superabundance of the forms ravaging the universe, in its diversity, disparity and its extraordinary interrogation. That question that became Roland Barthes: what is the cause of all this disorder? And, also, Bikondoa poses, through these encounters lautremontianos the existence of other worlds within this one. A universe of objects that, in its singular new meeting, often intriguingly desescalados, sometimes with the air of medieval bestiary, questions the visible appearances of the world, following one of the most perplexing and mysterious norms remembered by alchemy, the coincidentia oppositorum , That is, the encounter of opposites. Defending Bikondoa there are times when things can dazzle or, on the contrary, remain in the dark.


The earth burns in the dark water, wrote another poet painter. Still life of objects, more quiet fruit of non-mutez, such the tremor prior to the bursting of the fruit. Nigredo saturnal the light that bathes frequently, monochrome, its objects, with some air of Nevelson’s monochromes. Flame that is not extinguished, memory where it burned, perplexed territory populated by the appearance of objects.


Saṃsāra, another title of the object sculptures of Bikondoa, obviously refers to a persistent cycle of living, dying and reborn, the eastern wheel of life. And what mystery is this that explains the mystery with mystery? Meeting of objects as visible representations of mysterious and supernatural realities. Frozen arrows passing through cages that seem to find what Alfredo calls “the direct road to truth.”


And below, the abyss.