Where the Kids play with Gods.
Vicenç Altaió

Going down to the “Prat” Airport, we can see a large strip of loose paper. It is not a futurist vision, but a surprising inscription of the mythic legend about the origins, that welcome us from Barcelona’s sky.

As we landed, I asked plenty of curiousness someone, a controller of the air traffic, about this subtle presence, he answered me that a fearless young went to the “Muntadas” tower, at the centre of the town, with a tricycle which wheel-roller printed Adams and Eves. I replied saying that from the height those continued and repetitive signs looked like a procession of stretched tattoos, only understandable watched through an anamorphoscope. I quickly took a taxi just to see “in situ” the artwork of the Mad about Genesis. Some loose papers were flying through a window with the lithographic printing of the ancestors of earth. Once inside, I saw how a long strip of paper extended itself forward, climbing into the space, raising in spiral like a circumlocution into a room and falling down at the next one, like a tornado, just to finish as a matrix object. The large strip of paper measured more than 120 meters and was full of Adam and Eve’s shapes as Durer multiply them.

It is a well known fact in the history of the American Modern Painting, that Jackson Pollock danced over a canvas, dripping industrial paint to compose, with the subjective strength of a ritual dance, an abstract calligraphy. Another comparable rarity was the one from a group in Sabadell, named “Gallor”, because they let the smeared legs of hens to do their own way on a white canvas; that was just during the sixties when the informalists crossed out the signs that another member of their group painted on an endless fabric extended over the Ramblas street in Barcelona. Those were the times of the end of iconographies, where emptiness and gesture, Zen and the writing zero degree, converged in a radical metaphysical plenty of humour and revolt. The art has known the experience of limits, but history has never been linear, even though Christians and Marxists agreed about the paradise paradigm. And no dead end is final. So, the young Jesús Galdón, following the tradition that comes from Duchamp, Brossa and Perejaume, reverses the cosmogony that goes to Durer, and where the contemporary mirror is a representation of the past towards a future where kids are playing with gods: Rotation signs transcribed through a printing machine, an extraordinary mythological tricycle: a sky and clouds seat: a handlebar of constellations, pedals of islands and seas, and at the wheels, Adam and Eve. Some kids pedalled over the strip of paper in the street, at school, into a hospital, inside a church and in the cultural centre of “El Prat” printing their path. This is the profane line of art that comes from the demiurge till the wizard and goes from the philanthropist to the infinite.

Vicenç Altaió
Poet, Ideas dealer and Art critic.
El Mundo, 9th November 1999