“These days, my notion of the fantastic is closer to what we call reality.” —Julio Cortázar

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“I have always imagined that Paradise will be a kind of library.”
Jorge Luis Borges

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Using his heritage of the South American continent – Javier was born in Chile and living in Buenos Aires – where art has always been a mixture of Andean symbols and a medieval European concept he evolved and managed to create his own unique style; a typical palet of colors combined with different materials such as plastic tablecloths, synthetic enamel, plaster and clothes. The result is a expressive vivid art form that tributes the South American culture.

The first time I saw the works of Javier Aliste I was struck by its happiness it gave me… I loved the colorful, bright three dimensional image it represented because of the material he uses. It is totally different from what I saw before working as an art dealer and I was surprised by its symbolic details. His works are in some way reminding me of my childhood innocence in which I appreciated art just by looking at it without having the necessity to explain why I like it. Just looking at it and knowing that I like it.  The naive art of Javier Aliste is provoking this same sensation.

It seems to me that Javier gets part of his creative inspiration from the combination of materials he utilizes and applies. The artistic excitement seems to lie most of all in its preoccupation with the invention and use such materials, colors, and surfaces.  I can see the influence of his childhood, it is pure art, pure thoughts…where the subconscious plays an important role.

Its like capturing the beauty of landscape rather than focusing on a single detail.

This is exactly what I see in the works of Javier, it is not the image per se which is asking our attention but the work as a whole with the underlying message within that shows details by looking at its whole. Understanding the works of Javier by undergoing his South American identity, we can hear the whispers of the Gods, we look at his works and we can feel them…

What I can clearly see as well is the medieval European cultural influences and religion combined which has evolved into a true spiritual South American style. Those color mixtures and symbolic combinations allows him to represents a reality that surrounds him, but he is also expressing strong feelings that come from inside. Of course Javier himself is a part of his South American cultural heritage and he is mixing this heritage with his experience he gained in Europe. He studied in Art in Germany and traveled through Europe before he returned to his home place.

An Andean concept mixed with this strong European influence. It is almost if we can hear the ancestors voices coming out of his artworks.

Then of course there is always the question, does this art really need to be explained or should we just enjoy en let our subconscious take over allowing each of its viewers to experience and explore Javier Aliste’s subconscious works of art.

Monique Lucy Weberink

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And I know full well you won’t be there.

You won’t be in the street, in the hum that buzzes

from the arc lamps at night, nor in the gesture

of selecting from the menu, nor in the smile

that lightens people packed into the subway,

nor in the borrowed books, nor in the see-you-tomorrow.

You won’t be in my dreams,

in my words’ first destination,

nor will you be in a telephone number

or in the color of a pair of gloves or a blouse.

I’ll get angry, love, without it being on account of you,

and I’ll buy chocolates but not for you,

I’ll stop at the corner you’ll will never come to,

and I’ll say the words that are said

and I’ll eat the things that are eaten

and I’ll dream the dreams that are dreamed

and I know full well you won’t be there,

not here inside, in the prison where I still hold you,

nor there outside, in this river of streets and bridges.

You won’t be there at all, you won’t be even a memory,

and when I think of you I’ll be thinking a thought

that’s obscurely trying to recall you.

EL FUTURO

Y se muy bien que no estaras

No estaras en la calle, en el murmullo que brota de noche

de los postes de alumbrado, ni en el gesto

de elegir el menu, ni en la sonrisa

que alivia los completos en los subtes,

ni en los libros prestados ni en el hasta manana.

No estaras en mis suenos,

en el destino original de mis palabras,

ni en una cifra telefonica estaras

o en el color de un par de guantes o una blusa.

Me enojare, amor mio, sin que sea por ti,

y comprare bombones pero no para ti,

me parare en la esquina a la que non vendras,

y dire las palabras que se dicen

y comere las cosas que se comen

y sonare los suenos que se suenan

y se muy bien que no estaras,

ni aqui adentro, la carcel donde aun te retengo,

ni alli fuera, este rio de calles y de puentes.

No estaras para nada, no seras ni recuerdo,

y quando piense en ti pensare un pensamiento

que oscuramente trata de acordarse de ti.

JULIO CORTAZAR

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She was born Henriette Theodora Markovitch in Tours, Western France to a Jewish family. Her father, Josip Marković, was a Croat architect, famous for his work in South America; her mother, Julie Voisin, was from Touraine, France. Dora grew up in Argentina.

Before meeting Picasso, Maar was already famous as a photographer. She also painted. She met Picasso in January 1936 on the terrace of the Café les Deux Magots in Saint-Germain-des-Prés, Paris, when she was 29 years old and he 54. The famous poet Paul Éluard, who was with Picasso, had to introduce them. Picasso was attracted by her beauty and self-mutilation (she cut her fingers and the table playing “the knife game”; he got her bloody gloves and exhibited them on a shelf in his apartment). She spoke Spanish fluently, so Picasso was even more fascinated. Their relationship lasted nearly nine years.

Source Wikipedia

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THE BRIEF LOVE

How smoothly and how sweetly

she lifts me from the bed where I was dreaming

of profound and fragrant fields,

she runs her fingers over my skin and sketches me

in space, suspended, until the kiss

alights curved and recurrent

a slow flame kindling

the rhythmic dance of the bonfire

weaving us together in flashes, in spirals,

going and coming in a storm of smoke…

(So why is

what’s left of me, afterwards,

just a sinking into ashes

without a goodbye, with nothing more than a gesture

of letting our hands go free?)

Julio Cortazar

EL BREVE AMOR

Con qué tersa dulzura
me levanta del lecho en que soñaba
profundas plantaciones perfumadas,

me pasea los dedos por la piel y me dibuja
en le espacio, en vilo, hasta que el beso
se posa curvo y recurrente

para que a fuego lento empiece
la danza cadenciosa de la hoguera
tejiédose en ráfagas, en hélices,
ir y venir de un huracán de humo-

(¿Por qué, después,
lo que queda de mí
es sólo un anegarse entre las cenizas
sin un adiós, sin nada más que el gesto
de liberar las manos ?

JULIO CORTAZAR

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The silent friendliness of the moon

(misquoting Virgil) accompanies you

since that one night or evening lost

in time now, on which your restless

eyes first deciphered her forever

in a garden or patio turned to dust.

Forever? I know someone, someday

will be able to tell you truthfully:

‘You’ll never see the bright moon again,

You’ve now achieved the unalterable

sum of moments granted you by fate.

Useless to open every window

in the world. Too late. You’ll not find her.’

We live discovering and forgetting

that sweet familiarity of the night.

Take a long look. It might be the last.

Jorge Luis Borges

Painting is “Moon light over the Seine”
Henry Pether (1828-1865)

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“A Sad thought dancing” that migrated from the brothels of Buenos Aires to the European dance halls.

Several great writers have written tango songs, but the greatest and most profound lyricist is Enrique Santos Discepolo.
The man who defined the tango as “a sad thought dancing” , “a mixture of anger, pain, faith, and absence” sings of love, death and paradise lost in radically pessimistic poems that express the despair of the thirties, that “infamous decade” where hopes of democracy gave way to coups l’etat and electoral fraud.

Faced with stattered dreams, “All is a lie, nothing is love/the world buggers you about as it turns.” Love is always at punishment: “Why was I thought to love/If to love is to cast all your dreams into the sea”.

Painting
Kees Van Dongen [1877 – 1968]
Tango or Tango of the Archangel
1922 – 1935

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La Confiserie (1932)

Leonor Fini (August 30, 1907 – January 18, 1996) was an Argentine surrealist painter.

Life and work

Born in Buenos Aires, Argentina, she was raised in Trieste, Italy. She moved to Milan at the age

of 17, and then to Paris, in either 1931 or 1932. There, she became acquainted with, among many

others, Paul Éluard, Max Ernst, Georges Bataille, Henri Cartier-Bresson, Picasso, André Pieyre

de Mandiargues, and Salvador Dalí. She traveled Europe by car with Mandiargues and

Cartier-Bresson where she was photographed nude in a swimming pool by Cartier-Bresson. The

photograph of Fini sold in 2007 for $305,000 – the highest price paid at auction for one of his

works to that date.

She painted portraits of Jean Genet, Anna Magnani, Jacques Audiberti, Alida Valli, Jean

Schlumberger (jewelry designer) and Suzanne Flon as well as many other celebrities and wealthy

visitors to Paris. While working for Elsa Schiaparelli she designed the flacon for the perfume,

“Shocking”, which became the top selling perfume for the House of Schiaparelli. She designed

costumes and decorations for theater, ballet and opera, including the first ballet performed by

Roland Petit’s Ballet de Paris, “Les Demoiselles de la nuit”, featuring a young Margot Fonteyn.

This was a payment of gratitude for Fini’s having been instrumental in finding the funding for

the new ballet company. She also designed the costumes for two films, Renato Castellani’s Romeo

and Juliet (1954) and John Huston’s A Walk with Love and Death (1968), which starred 18 year old

Anjelica Huston and Moshe Dayan’s son, Assaf.

She once said,

Marriage never appealed to me, I have never lived with one person. Since I was 18, I’ve

always preferred to live in a sort of community – A big house with my atelier and cats and

friends, one with a man who was rather a lover and another who was rather a friend. And it has always worked.

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