Amparo Sard

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    The penetrating light

    Fernando Gómez de la Cuesta
    2018

    Skirting the limits, going around and overcoming them, finding the interstices and the breaking points, putting your fingers into the cracks, perforate the surfaces and touch cavities, pushing branches aside with your hands, finding the clearings in the forest and the conflict areas, bringing the experience and the disclosure from contemporary art (…)

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    Castellano

    Precarious surfaces: “Light. The Shadow of Time. By Amparo Sard”.

    Ludwig Seyfarth
    2017

    More than a century ago, around 1915, the Russian writer and literary critic Viktor Shklovsky wrote down these reflections in black and white. If someone read them and then went to visit “Light. The Shadow of Time” by Amparo Sard, they could think that the author wrote those words purposely for this exhibition (…)

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    Deutsch

    The Meaning of a Limit: Amparo Sard’s Fragile Aesthetics.

    Eugenio Viola
    2018

    What exactly can be understood by the word “limit”, that term whose diversity of meanings is so irreducibly complex? Why have elusive underlying concepts always played such a key role in philosophical speculation, intercepting its reflections on the passage of time, experience, knowledge and, more generally, human existence itself? (…)

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    Castellano
    Italiano

    “Die Stelle, an der er dem Unerkannten ausfsitz”. [Amparo Sard’s punctualizing heautoscopy].

    Fernando Castro
    2017

    No longer is there any plank to cling onto in the storm following the shipwreck, and neither do we have the (philosophical) authority to look down from high temples upon the world’s general misfortunes. The melancholic’s aristocratic route is literally paved with dizzying tourists trying to see what is on the schedule. The unease, anxiety and incapacity to face up to the trauma have been badly surmounted and camouflaged with a mobilization that we know to be “all-inclusive” (…)

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    Italiano

    Il deserto ombroso per l’empasse di Amparo

    Achille Bonito Oliva
    2017

    Il deserto dell’artista è il giardino geometrico della visione,depurato da ogni ostacolo e portato nella condizione orizzontale di una immagine lampante, esposta fino al limite dell’impietosa esibizione. Esso implica un piano ampio per la visione, da cui è possibile spaziare impunemente con lo sguardo, fino a sorvegliare i confini ultimi, l’orizzonte oltre cui tramonta il sole e inizia il mare verticale del nulla, dove l’occhio affonda senza riuscire più a carpire altre notizie (…)

    Deutsch
    Castellano
    Italiano

    The Enigmatic Voyage of Amparo Sard

    David Galloway
    2017

    Amparo Sard is a navigator who steers her ship through those perilous straits that separate pleasure and pain, the beautiful and the sinister, the real and the surreal. Among her countless seafaring predecessors is Ulysses, who braved the deadly monsters known as Scylla and Charybdis in pursuit of his homeward quest. The former, a many-headed creature rooted to the bottom of the sea, devoured sailors who passed too near, while the giant mouth of Charybdis opened at intervals to create a powerful whirlpool (…)

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    Deutsch

    A Catastrophe that already taken place. Punctual singularity in Amparo Sard’s work.

    Fernando Castro Flórez
    2016

    Amparo Sard is a navigator who steers her ship through those perilous straits that separate pleasure and pain, the beautiful and the sinister, the real and the surreal. Among her countless seafaring predecessors is Ulysses, who braved the deadly monsters known as Scylla and Charybdis in pursuit of his homeward quest. The former, a many-headed creature rooted to the bottom of the sea, devoured sailors who passed too near, while the giant mouth of Charybdis opened at intervals to create a powerful whirlpool (…)

    English
    Deutsch

    La Otra

    Óscar Alonso Molina
    2016

    Al cabo, toda la producción de Amparo Sard podría ser entendida bajo el signo del dibujo, a pesar de lo poco convencionales que resultan sus variadas formulaciones, que incluyen la instalación,
la performance, el vídeo y, por supuesto, esos papeles suyos tan característicos, donde la imagen emerge a la superficie y se hace visible a partir solamente de la punción del papel —sin ningún otro elemento gráfico añadido—, perforado cientos, miles de veces con agujas o puntas hasta abullonarlo y conferirle el aspecto de un bajorrelieve (…)

    Castellano

    El sueño de la razón genera moscas

    Antonio d'Avossa
    2016

    Amparo Sard ha elegido un insecto fastidioso, impertinente y omnipresente para jugar un partido visual con las reglas de lo social, esas reglas que se imponen como opresión de las identidades y que muy a menudo activan la pérdida. La mosca es el protagonista absoluto de sus últimos trabajos y se presenta en el centro de acciones cotidianas que atraviesan objetos, espacios y lugares de condiciones oníricas (…)

    Castellano

    Un mundo de perlé

    Pilar Garcés
    2015

    A las niñas nos ponían los domingos las bragas de perlé. Nos gustaban porque eran blancas, como de princesa, y llevaban lazos. Las odiábamos porque el hilo durísimo de sus primorosos dibujos se clavaba en la carne, dejándonos tatuados cientos de agujeros que tardaban horas en borrarse. Para presumir hay que sufrir; se ha dicho siempre. Belleza y dolor son dos caras de la misma moneda. En el esfuerzo de ser personas completas podemos perder alguno de nuestros miembros. Para crear debemos convertir la materia en hueco (…)

    Castellano

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    Amparo Sard