5475 días después
Ricardo Milla Hierro
The word time has several meanings and is one of the most difficult concepts to understand. However, we can say that the clock is not time but its interpretation and that measuring time is nothing more than comparing mechanical, electronic or wavelength cycles with the events that surround us and shape our lives.
In the four pieces in Ricardo Milla's exhibition, Aesthetics of Static (a series that started in 2007 and was exhibited at the Cervantes Institute in New York in August and September 2013), the artist uses decomposed watches as witnesses. dumb, of landmarks and socio-political symbols. A family table clock is photographed 1,440 times (the number of minutes in a day) with a background sky that marks the passing of the hours.
The clock of the Analco temple in the city of Durango is portrayed 24 times and the clock of the railway station of that same city appears in images on 24 personal DVD players, photographed at every hour of the day. The watch highlights the apparent certainty of the link between time and space, as the movement of the hands offers us a universal interpretation of the arithmetic progression of minutes and hours.
Here the clocks do not have any internal movement but the images in which they appear are the result of other temporary measurements made with invisible clocks.
In an era of epidemic proliferation of digital tools or apps that have invaded our pockets and communication devices, we constantly receive information on the parameters supposedly relevant to life, while mechanical watches, especially those on public roads that played for decades a fundamental role, they now appear as relics, redundant artifacts that can only be redeemed for their aesthetic value or as simple geographical reference points.
