PILAR COSSIO Les années toscanes
A surprising period in Pilar Cossio’s work begins with her arrival in Paris. It refers to her works from 2000 onwards and coincides with the beginning of that Parisian period in the Rue de Florence.
If she has decided to call this period “The Tuscan Years” –which also coincides with the new century arrival- do not try to look for another meaning different from biographical wink. That irony and subtlety are essential in order to understand both her work and attitude towards art and life.
“The Tuscan Years” refers to the time lived in Rue de Florence in Paris, not to the years spent in Florence (Tuscany), from 1976 to 1981, her first five Italian years, when she studies Fine Art
In spite of the repeated allusion Pilar Cossio makes to some icons related to transport (harbours, aeroplanes, shoes, stations ), the artist does not even for an instant remain in the reality shaped by reason. The dream and its surroundings are her second skin.
Getting to what is real means then disclosing a magic territory that only belongs to her and it is also her dwelling.
However, there is no doubt that that poetic extravagance makes her inspiration ability more dynamic. Moreover, it maintains a philosophical and even psychological reflexion about both the world and her own.
Some topics are carefully dealt with such as TRANSHUMANCE, ARCHITECTONICS ELEMENTS, PLACES, HER LABORATORIES (CITIES WHERE SHE HAS LIVED) , The ABSENCE, The DIFFERENCE, the light, in her most recent works and the shadows that acquire a decisive semantic value. the secret affinities of the things the beings.
Daniel Soutif has compiled all these under the name of transport in the catalogue of the Paris and Siena exhibitions.
Transport aims to provoke an intense feeling and sometimes a transgressive answer.
The most amazing part of all this is the material means that give legitimacy to Transport. The reason for this is that Pilar Cossio is going to create previously unknown and exciting movements (from reality to dream, from visual to mental and enigmas… (we should not forget that the artist was born in Cantabria, where the Altamira Caves’ paintings mark her cultural identity).
However and beyond appearance, another feeling may be sensed. Something so untouchable and inexplicable as the provisional and at the same time eternal union of conflicting elements, fragile alliances, which above all, endure and survive, creating new unions and discovering secret and amazing affinities.
The artist very easily copes with any of the modern languages (ready-made, installations, l’object d’art, collage, photomontage…) with which she has formed an experience that moves our sight, our metaphoric vision of the world.
Her exploring attitude allows her to infuse into the occidental cultural costume in order to go finally further, facing up to projects that surpass any sense of measure.
There is a secret way of viewing, of enigmatic access in all her work. Nevertheless, she is generous and proposes an infinite game as if we were aides.
Her last works are sublime. They are installations that resolve the staging with a wide variety of resources showing no doubt of the complexity and richness of her thought by means of projects which, because of their intensity, geometry and their dialectic conviction involve the audience. Once more, because of the staging of secret affinities.
The artist reveals that complicity with the enigma present in all her work through “Bureau pour femme” (installation-object). This is a calculated geometry trick whose main element is light (blue). This light that sends us to a labyrinth, having suggested beforehand the norms and clues to make the journey a transforming one. This is the language that transforms both the creator and the viewer.
In “Pavanne noire” the dancer borders on the limit of the great mirror, the great well immersing herself in an unlimited dancing step. Daniel Soutif described the previous Pavana, a pale woman whose magic body still hung in the air, as follows: the Pavana dancer has abandoned her tutu and from that moment, freely floats in a nebulous halo of light, while a mirror on the floor transforms her interior into an abyss. Otherwise, who knows if it weren’t through this mirror that the dancer escaped in order to make us eternally feel her absence.
Pilar Cossio enjoys finding possibilities in the “minimal” as a global function (global-work). However, she also wanted to carry out another task, that is, direct all these experiences (formulae) towards thought, towards the poetic. Her performance tends to participate poetically in space, i.e., to give the work an infinite poem scope reaching a profound emotion or what is even better, a feeling of inevitability.
She always walks on the edge, on the border of the objects, the languages she is closed to. She borders on the ritual as in the magnificent installations of LUOGO or PAVANA (2004 Casas del Aguila y la Parra in Santillana del Mar, Paolo Tonín Art Gallery in Turin, Ateneo Albeitar, University of León, Artemisa Art Gallery in Paris). And as the afore mentioned “Bureau pour femmes” presented in her exhibition Del Sentire.
Each of her works seems to give birth to the next ad infinitum and this is so from the beginning and with no end. The next stage is already latent in the previous one.
Language as pleasure. Art as an idea. Access to the splendour of the real, the metonymy built by its own fantasy. Access to the idea as a source, towards the greatest concentration.
The language like enjoyment
Lise Ott Vernier
Paris, February 2008