Jaime Miranda Bambarén
(Monumento Films)
Semillas 7 / Resurrección /
/ Reportaje a Gustavo Buntinx
2019
Video / 03:27′
Colección MICROMUSEO
(“al fondo hay sitio”)

Derechos reservados (Copyright):
Jaime Miranda Bambarén / Gustavo Buntinx

Declaraciones a la prensa por parte de Gustavo Buntinx, curador de Semillas (Resurrección), la monumental intervención de Jaime Miranda Bambarén en el patio central del Centro Cultural Conde Duque, en Madrid. (Amplia información en la correspondiente ruta de MICROMUSEO).

La entrevista se realizó el 26 de febrero del 2019.

Transcripción traducida:

“JOURNALIST:

I would like it if you could explain a bit of what this work represents, let’s say, what is the message.

GUSTAVO BUNTINX:

Jaime Miranda’s Seeds have an obvious ecological meaning, of course. But above all they have a spiritual sense, a religious one. The ovular flow of the Virgin.

We here have the transformation of a field sown with death into a fructifying symbolization of life. Let us not forget that the subtitle of this installation is Resurrection.

But, on that line, there is also an erotic sense, a meaning that is even sexual.

This rosary of ovular presences configure, in this dry plaza, this military court, a moisturizing spermatozoid feverishly headed towards the matrix of the Motherland, its open womb waiting to be revitalized.

We are giving the lost seed back to the Motherland, urging her to return to procreative copulation in order to revert the demographic crisis of this splendid country —and in order to retrieve, as well, for all of us, a full commitment to Life. With a capital “L”.

But, of course, we have to remark that none of this would be of any interest whatsoever if the artwork could not sustain itself —first and last— in its own splendid formal presence. These precise, these precious spheres, are loaded…

…so incisive, and with an immediate receptivity that is sensible, sensual, sensorial. All of which allows Jaime to aim at a further subversion, in addition to all those previously mentioned here. Because to put your wager on Life, to put your wager on the spiritual, is now absolutely transgressive, as all of you know.

But here, beyond all that, there is a subversion that is specifically artistic. There is a radical retrieving of the very materiality of art in times in which the absolute dematerialization of art pretends to be imposed on us through a new system of codes. An algorithm that is absolutely functional to the hedonistic capitalism offered as the hegemonic horizon in our soulless, God forsaken times.

This is an art of fecundation… but at the same time it is an art of resistance”.