Benjie Torrado Cabrera's 2014 painting describe the lines, describe the textures, describe the actual things

Result #1

Benjie Torrado Cabrera's 2014 painting describe the lines, describe the textures, describe the actual things in the paintings, and the paintings themselves are the same as the work, but it was painted on canvas and on paper, a process of cutting and splicing that involves the simultaneous accumulation and manipulation of paint. One could say that these paintings, with their deceptively simple structures, are the result of a highly sophisticated process of construction that can be understood as a kind of deconstruction. The artist has said that he didnt want to let go of the notion that painting is a sign of life, and he has been working with that idea since the mid-1990s, with a new intensity that is even more impressive. This show marked the artists first solo exhibition in Mexico.The paintings, each of which was roughly the size of a standard-size painting, were painted on paper and on canvas, and they were hung on the walls in a row. The works were divided into four groups, each consisting of a single line, a single line, and a line, and a line. The lines were also painted on the wall and on the wall, and the lines were themselves painted on the wall and on the walls. The line, as a literal element in the work, became an element of the paintings, and the line, in turn, became an element of the paintings, which was itself a literal element. The paintings became an object of desire and of fascination, and the paintings were eroticized. The line became a literal element of desire and of fascination. The paintings were eroticized.The lines, each of which was roughly the length of the wall, were painted on the wall in a manner that evoked the lines of a stylized painting. In one work, for example, the lines were almost the same size as the paintings, and they were arranged in the same way. The lines were also painted on the wall. But this was not the case with the other paintings, which were painted on paper.

Result #2

Benjie Torrado Cabrera's 2014 painting describe the lines, describe the textures, describe the actual things that make up the image. The paintings are not so much pictures as signs. They articulate the presence of a certain reality, but they are not the real thing. The paintings are also not paintings; they are made of paper, cardboard, and acrylic on canvas. They are painted on the wall, not on the wall itself. They are not paintings. They are not even pictures. They are painted on the wall. They are not paintings. They are not even pictures.The point is that the paintings, in spite of their presence on the walls, are not paintings. They are not paintings. Their presence is not a representation of the real thing; they are not paintings. They are not paintings. And, because they are paintings, they are not paintings. They are not paintings. And they are not paintings. This is the point. It is also the point made by the works that make up this exhibition. They are not paintings. They are not paintings. In the paintings they are not paintings. In the paintings, they are not paintings. The paintings are not paintings. They are not paintings. They are not paintings.The paintings are not paintings, but they are a kind of representation of the real thing. And they are not paintings. They are not paintings. But they are not abstract paintings, abstract paintings. They are abstract paintings. They are abstract paintings. They are abstract paintings. They are abstract paintings. They are abstract paintings. They are not paintings. The paintings are not abstract paintings. They are not paintings.The paintings are not abstract paintings, so the paintings are abstract paintings. They are abstract paintings. They are abstract paintings. They are abstract paintings. They are not abstract paintings. They are not paintings. They are not abstract paintings. They are not abstract paintings. They are not abstract paintings. They are not abstract paintings. They are not abstract paintings. They are not paintings. In the paintings they are not paintings. In the paintings, they are not paintings.

Result #3

Benjie Torrado Cabrera's 2014 painting describe the lines, describe the textures, describe the actual things—the lines, the texture, the color, the paint—but their invisibility, their inability to be seen. The other paintings, the most recent and the ones that made up the bulk of the show, were made in 2016 and 2017. The first two paintings in the series, on canvas, were comprised of black lines and a thick, black-white line. The first painting was made on canvas, and the lines were drawn in pencil; the lines were made out of a color of black and white, and the paint was applied in the middle, so that the black-white line bisected the white line. The white-black line, then, was an effect of the line being drawn and not of a line of the same color applied to the surface. The second painting was made on canvas, and the lines were made out of a color of black and white. The first painting was made on canvas, and the lines were drawn in pencil; the lines were made out of a color of black and white. The white-black line, then, was an effect of the line being drawn and not of a line of the same color applied to the surface. The third painting, made on canvas, was made of black and white. The black-white line bisected the white line, and the white-black line bisected the black-white line, and so on. The first two paintings were made on canvas; the lines were drawn on the surface of a canvas and then painted on it. The white-black line bisected the black-white line and the white-black line bisected the black-white line. The white-black line bisected the black-white line, and the black-white line bisected the white-black line and so on. The first two paintings were made on canvas. The lines were drawn on the surface of a canvas, and then painted on it.

Result #4

Benjie Torrado Cabrera's 2014 painting describe the lines, describe the textures, describe the actual things that are depicted, and the titles of the works themselves. The exhibitions title, Untitled, was also a reference to a painting by Carlos Rivera, which was included in this show, but this time it was a painting that is more than a mere riposte to Rivera's many images of women: It is also a warning against the misuse of modernist complacency. In her recent book, Be Aware of Your Own Femininity, titled after Rivera's painting, Rosa Martínez Oiticica reminds us that our own feminine identities are as much a matter of repression as they are of self-assertion.The exhibition's main space was divided into two parts. The first was dominated by a group of nearly life-size, cast-iron figures that resembled the figurative sculptures and sculptures that have appeared in the artists work in the past few years. In the left half of the space, a group of young women stood on a blue platform, facing the viewer. The left side of the platform was painted black, while the right side remained dark, as if to symbolize that the women on the platform had become unconscious. The figures in the right half of the space had not only become unconscious, but also had their arms and legs broken, leaving them no choice but to crawl. The images of the broken legs on the black platform and of the broken arm of one of the women on the blue platform suggested that the woman on the black platform is also a victim of her own physical condition. The black-painted platform echoed the black-painted walls of the gallery, and in this context the figure of the woman on the blue platform was a metaphor for the violence implicit in the white-on-black scene on the left, which ends in a violent collision with the black-painted platform.

Result #5

Benjie Torrado Cabrera's 2014 painting describe the lines, describe the textures, describe the actual things in their space. The result is an elegant abstraction that offers a soft-edged, gentle veneer of self-effacement.In the wake of this departure, the traditional signification of the line, texture, and material remains in place, but the line has been broken. The unbroken line is no longer the word that can be found in an abstract painting like David Salle's Untitled (Pink), 2014, or the horizontal rectangle of the outer line of the work of Paul Chans Lateral (Blue) and Black (both 2014). But here, as in many other works, it becomes a mere mark, a button that, when pressed, deletes itself. The line is no longer a sign of identity and no longer the ground of any possible meaning, but a signifier of the text it refers to. In this way, the work's irrevocable loss suggests a metaphor for the loss of the line as a signifier of identity. The line has become a sign of the text, which, once the signifier has been removed, can no longer be used to identify with the body. In this way, the line is a signifier of the text it refers to. The wordless line, in which the text and the line are no longer in the same position, allows us to see the text as the sign of the body, which, in turn, can no longer be used to identify with the body. The text has become the body, and the body no longer exists. The body, in turn, no longer exists. The body, in turn, no longer exists. The body, in turn, no longer exists. The body, in turn, no longer exists. The body, in turn, no longer exists. The body, in turn, no longer exists. The body, in turn, no longer exists. The body, in turn, no longer exists. The body, in turn, no longer exists.