The spy-hole

In his pieces (video-installations, performances, and multimedia design and projects) Azogue always leaves a scent to be followed, the trace of something that seems to have already occurred, or is taking place and, although we might see it, we don’t believe it entirely; where the action caused leads us to doubt the eternal play between reality and fiction. Whether from the viewpoint of the voyeur or that of the manipulator, the spectator ituits that “something” will only occur if they cross the threshold, if they intervene. As in that other simple, but strange door that Duchamp rescued from Cadaqués to place in a museum in Philadelphia, in order to “see” one has to approach, to look through the spy-hole.

This is a cosmogony of referential situations in which we can trace influences from literature, cinema (from silent film to the tormented, metaphysical freaks of Cronenberg and Lynch) or the absurd of Ionesco’s or Beckett’s plays, passed through the filter of the interactive aesthetics of videogames.

In projects like Teasing, Door or Darling Azogue proposes questions related to curiosity - the yearning to kow that the eye turns into morbidity - hidden desire, fragility or the anguish of confused characters that seem to awake in a place not their own.

Azogue combines his work with the development of an artistic community in Brussels, where he has lived for the past few years, dedicated to debating and making known proposals of current creation in collaboration with Belgian and Andalusian artists. This activity links spatially with his work in action, intervention and organization that he undertook in Seville at the start of the decade as a member of The Blind Man collective, together with artists such as Marisa Marín, Alejandro Durán or Pedro Huertas.

Rubén Barroso

Art from Andalusia to the 21st century

Catalog Coordinated by Iván de la Torre Amerighi, Sevilla 2007