El bisturí óptico (The Optical Scalpel)

  • Artist: Sandra Pani
  • Year: 1998

Main Gallery

Precision and sensitivity are the components of the equation Sandra Pani establishes between the whole and its parts, because it is a fact that bodies –including the most elemental and seemingly inert ones– are comprised of parts, something that was always at the forefront of the minds of the great anatomists and morphologists of the nineteenth and twentieth centuries. A mannerist art with great impact culminates with the plates that illustrate these works. Gautier d'Agoty’s anatomical mezzotints and the engravings that depict Sir Charles Bell’s treatise on the anatomy of the hand exemplify this analytical quest, a quest that always leads to the same conclusion, however different or strange it may seem. The problem, it seems, is resolved on the terrain of fact. A recent show in Mannheim by some sculptor or artist who used human material in their exhibition might either prove or completely void what I would suggest. But the point is things are suspended in the middle of a dilemma that has fascinated thinkers –and poets– for a very long time.

Salvador Elizondo, 1998

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