ink and diaphragmLet’s see, this is about the work by two friends, whom I have neverseen in my life, but only met through epistolary and work exchangevia the Internet. Fernando Prats lives in Barcelona, Miguel Ruibal inTerrassa, and I in Mexico City. Combination whose coordinates rightfrom the start reveal a new way for possible encounters in this 21stcentury. Distances and time zones (them being across the Atlantic)do not matter anymore. Information and ideas flow, according toeach one’s schedules and daily routine. Of course we share many interests, which is the reason why friend-ship had a fertile space to grow. I hope the same happens to youreaders with Ruibal and Prats, as you get to know the features oftheir work. The essay I am referring to was developed in the course of eightweeks, throughout which the two artists exchanged about a hun-dred works, until they finally gathered together the couples featuredhere. They ask, they told me, for each reader to formulate his/herown associations to find their own weft (and traumas, I would add).Nevertheless, I am not satisfied by that answer, that of leaving us toour own devices to solve the plot.Therefore, I have no option but contributing with my own interpre-tations, which should be understood only as that, as just my per-sonal interpretation. The fact that they have not numbered the pages in order to cite aparticular work makes me think they see their works as a continu-um, and they seemingly took to the task of making couples on each page consistent. I found
a great visual and stylistic coherence, not only between pages butalso throughout the whole set of 28 images. This is, the consistenceis not only horizontal but also longitudinal. Such sustained coherence is not easy to achieve. Resonances aremaintained at various levels: textures, traces and volumes comple-ment each other very carefully; nothing has been left without con-sideration. I find it a very fortunate decision to keep the photograph alwayson the same side of the right page, and a great skill for work editingcan be appreciated. What are the risks we must face when thinking of buying Pratsand Ruibal’s work? Because that’s what this is about. Apart fromthe unavoidable compromise with culture, and their creative abili-ties. What this is about is opening new ways to deal with habits andcustoms to purchase artwork through many innovative ways, by thetwo respected and acknowledged artists from the River Plate regionestablished in Catalonia. Their intention, as far as they have told me, is contributing to thedebate between digitally distributed work (blogs, websites, socialnetworks, etc) and work as a physical presence, tangible and suscep-tible to be handled in the three-dimensional world; and achievingthat without the dependence of intermediaries (galleries, publishers,etc). This objective is of great interest for every artist, wherever weare. We are all urged to find practical models to bring artists and col-lectors together, by doing so reducing distribution costs associatedwith the old circulation models. One of the essential links in this transition towards new operat-ing schemes is the issue of trust in this Internet era. Forestalling this doubt is important, as eBay or Amazon, among others, have learned so well.
And the solution lies in understanding that, in the Internet era,news travel around the world at the speed of light through the opti-cal fiber arteries of the global networks. Soon it would be known ifmy friends’ marketing strategies should not stand up to what theyoffer, and thus would fall from the esteem of those who trusted themand all their efforts. As in their case it seems absurd, I rule that pos-sibility out. The present volume is intended to be printed on demand. Therewill be different versions to give a chance for everyone to partici-pate according to their purchasing power, nowadays decreased, andthus be able to acquire these works, namely: the printed book; thebook autographed by the authors and accompanied by two smallworks; the book autographed by the authors as part of a special A3folder with six engravings (three by Fernando and three by Miguel).The project can also be seen through social networks such as Face-book, Flickr, MySpace, Twitter and its own website: lesargots.com. To conclude, we can say that Objects Subjects has found a happymarriage, a four-handed and four-eyed encounter, where we couldeven advertise in our Internet circus that paying is no longer requiredfor seeing, and that you will find splendid works, half drawing andhalf photograph, and in this case without the need for any illusionisttrick except the one already installed in every visitor’s mind. Now, ifyou wish to take the whole program (the book) for a very moderateprice thanks to new technologies, you can easily purchase it atlesargots.com/web/objectes-subjectes.Thank you very much!Pedro MeyerCoyoacan, Mexico DFOctober 9th, 2009.