Martin Soto Climent Frame, 2012 – Courtesy T293 Napoli, Roma – Photo Maurizio Esposito

 Ligera Vigilia, 2012, Courtesy T293 Napoli, Roma – Photo Maurizio Esposito
Martin Soto Climent Frame 2012 – Courtesy T293 Napoli, Roma – Photo Maurizio Esposito
ROMA
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    Martin Soto Climent, La Alcoba Doble,   2012 – Installation at T293, Naples, 19/01 – 25/03, 2012 
Photo by:Maurizio Esposito – Courtesy T293, Napoli/Roma

 La Alcoba, 2012 – Photo by: Maurizio Esposito – Courtesy T293, Napoli/Roma
 
The entrance, 2012 – Courtesy T293, Napoli/Roma
NAPOLI
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Volevo fare un ‘Short Interview’ a Martin Soto Climent (1977, Mexico City, Mexico) in occasione della sua doppia personale negli spazi a Napoli e Roma della galleria T293. Mi ha risposto in modo appassionato e sincero.
Volevo capire il significato del titolo, il motivo di questa doppiezza… 
Alcune sue considerazioni sulla mostra ‘La Alcoba Doble’
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La Alcoba its a dormitory, we can say its a room to sleep but also it has a romantic connotation, a room to love. La Alcoba Doble, in a basic way means that its a room for two persons,   a couple. So the name its related to the people which will occupy the space. But because this show its a double exhibition, I like the idea of interpret the gallery as one space with double intentions. 


All the show is conceived under this idea of duality. Keeping in mind that each one of us its a Double Alcoba… we are complex double beens. With an organic instinctive side in relation of a rational and structured part.
But this two parts are not always in balance.
Wester culture has put too much attention in the develop of the rational side… All our fantastic technological toys came from it. But must of the individuals are constantly fighting with themselves. There is a big quantity of people that doesn’t fell well.
It means something doesn’t mach in the ways this double structure is done.
 
I use the space in Naples to represent the way our Irrational been works… its organic fluid with no limits… I use images related to the origin of Venus and I interpret the gallery as one big shell that contains it self many times…  Many works all together and they also mix into themselves.
Nothing its determinate, just presented for a moment, install with a fragile red tape that has no intents of permanence, and goes into the space like the veins of one soft and live organism.
There are images of the gallery into the gallery and a continuos relation of the works.
 
Rome its one single and lonely thing. Its clear its compose by many elements but they are all together as part of a strong rational structure.
The frame its an element that extracts from the rest. And creates limits.  
There is a more clear image of a society that its on tension keeping the structure that holds it.  
There is emptiness. And the only element that its not part of the piece. Its a clear body that has adapt the form of the frame. Like a character that has an idea of itself, a Rational notion of its existence out side the rest…and delimitate its own.
…is it possible to be outside the rest? Just in our minds. (But we believe we are.)
If we don’t change this perception we will always “Use” things, people, plants, the planet…love…etc… as externals. And they will be over soon.  
 
If I use female objects its not to describe specific topics. I use them as a female energy, soft and flexible in contras of a male energy. For me the duality its not male-female as persons… its more like two sides of the same thing that complement each other… I guess its more close to the old Mexican idea of life… Like in Asia: Yin-Yan.
I believe we have to turn into a more female philosophy… less penetrant and damage. And I try to show it in each one of my works.
 
If I chose this images for the 50’s its because their are still quite innocent in many aspects. They are images that suppose to detonate desire. And desire its what makes life moves.
But they are not aggressive and still not so fake or obvious in sexual therms like they are now.
there is still some intimacy preserve in them which I think its fundamental.
They work for me as Images of  “Honest Beauty” and desire and I use them in order to recreate the origin of Venus…   
The show in Rome is pure tension but goes no where… In Napoli its about the origin… as a starting point but also as a destiny…   Constant Renovation. Thats why I use the Shell. I believe nothing can express better this concept.
 
Napoli its related to the Sea… as the origin of fluid life.  
And Rome is the origin of a mental structure that hold us tight.
This double aspect of humans its a beautiful phenomena in Life, but Western society lives it as hard contradiction.  All my work is critic in this aspect.
I guess something its not working very well… so its good to look at the origins.

We are the Alcoba Doble, and the Lovers inside!
Thanks so much for read my words…

My best,
Martin Soto Climent