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For Willy Kautz
The work of Douglas Rodrigo Rada, notes fragile notion of subject whose edges fade relationships with emerging contextual increasingly more media-society of the spectacle. Signals the presence Rada mater objects / images that have transformed the world of sense, now, is presented as a set of texts. Through projected shadows and reflections articulated by the same images that documents their work, the complaint condition of the "real" adhered to the logic of the simulacrum. Reflections and shadows provided by the journal images about themselves, announce their own condition of objects. autoreflejarse capacity, that is, seen from outside their own image determinants "corporeal" materic, not as paper, not surface bidimencional, allows verify the presence fictitious real now, or maybe "physics" of these objects / images. His photographs take on a playful, which reported the false images of their representational status, in the wrong with his own reflection.
visual work of Rada cleaved issued bourgeois cultural traditions of Romanticism, which tended to magnify, the natural, instinctive or unconscious genius creator. In contrast to the hard work of genius, who tried register your individuality through a series of stylistic codes in this case, we see a number of clippings, photographs, texts and videos that criticize any dye technical virtuosity. But that concern for self-support, Douglas talks about visual culture commodified, that feeds the drill and the seriality of mechanical reproduction. The work is established in the visual contents on the friction between art and society, rather than formal conventions. The way the Douglas uses this resource, lets you point the simulation, thus, disrupt interference that the object / image produced on the individual / consumer.
Rada visual work produced certainty that public images, rather than divert our way to a mediated relationship with the surroundings have changed the foundation of our old notions of epistemic. The relationship between object / image, text and simulation, object or representation, disdains the binomial structuralist signifier and signified. Instead of concern for verifying the relevance of the signifier and signified, Douglas shows us a world of representations that are always meanings for someone. representations up the possibility of stimulus and therefore intelligibility, or vice versa. The "lie-object" has fractured sense notions of man. representations are now objects, the objects have the ability to reflect, and reflexes denounced the "reality-fiction" such representations. The ambiguity in the "ontological" uncertainty of what is presented, or what we represent, are the starting point for a new epistemology: every time I understand even less, therefore I am.
In this work, the artist records loss of identity, the result is the disappearance of border edges: public / private, inside / outside, and above all, self and other. Rada presents us fragmentation and dissolution of the self-centered Cartesian following a new culture of the image or the simulacrum. The logic of late capitalism has become the subject in the image of the goods they consume, on stereotypes "in" useful ", while the old notion of" self "has left behind a" fairy tales "of Utopia modernista.
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