PUERTAS DE CASTILLA CENTRE

DATES: 3 – 31 March

Naissance d’une nouvelle avant-garde, la caméra-stylo of Moisés Yagües

I know Moisés Yagües long before his artistic career started. From the beginning his work reminded me the picture named Victor Hugo standing in front of Outcasts Rock that is guarded in the Musée d’Orsay. This image understands with magnificence Victor Hugo in exile: sitting at the top of a rock, his minuscule figure outlines the same immense crag with his back to a sea that he imagines infinite, the poet seems to be an ally of nature that decides to raise him above all.

This picture is the reflection of Moisés work whose vision reminds the travel of Dante guided by Virgil and recalls at the same time uncertain landscapes inside the most pure abstraction where the main theme is the imagination and dream, directly related with creation and madness.

Inside this universe, sometimes characters by accident approach characters from the story named Peter Schlemihl’s Miraculous Story wrote by the Romantic german Adelbert von Chamisso. In this story the main character, who seems to be a grown Peter Pan, loses his shadow in exchange for a sack full of infinite coins, a magic object which is no capable of calming the sense of unease felt due to the fact that he got rid of his own shadow, unequivocal sign of humanity.

This time, cinema recalls authors such as Abbas Kiarostami, David Lynch, Fatih Akin, Kim Ki-Duk, Krzysztof Kieslowski, Alfred Hitchcock or Woody Allen among others who offer the material in order to create a work of rare beauty… in which the delirium and the hallucination are incarnated together with a comprehension of the oneiric experience, and it is here where Moisés reaffirms his author condition as cahiériste that someone already did, fostered by François Truffaut. This filmmaker fostered the theory in which the author was the one in charge of every responsibility made in the play, facing up the studio, the film producer, etc, and he was the only guarantor of the content and the final result of its direction.

In that way Moisés Yagües became a far creator of the historicist thinking that defends the idea of the artist as a lineal improvement of its life career, which always means that the result of his work is predictable in relation to his previous production, despite of that, this theory is not even true or repeated in the major of artists.

The point I wanted to reach it is exactly here in order to considerate Moisés as the new genre of XXI century. According to the publication of the critic Alexandre Astruc in L’ Écran français: Naissance d’une nouvelle avant-garde, la caméra-stylo an article-manifesto which made a comparison between the cinematographic camera and the writer’s fountain pen, praising a cinema that feels capable of dealing with any idea or thought, as literature does, even if it is abstract.

Nowadays, we live in a politically correct world where Moises’ piece of work seems to be more original and evocative than never, which speaks about a fundamental matter, something that some people would describe as basic which is in accordance with the wonderful and eccentric peculiarity of this cinema which is universally made, works out of the canons and opens new ways because it questions genres, discusses limits and the way to build, breaking all the traditional narrative patterns showing wealth shades out of any discussion.

Moises’ pieces of work will never be boring. They will never be discreet. They will never be anodyne or vulgar. In a mediocre world, they are and they will always be absolutely deep and important.

Jesús de la Peña