The parrhesian concept refers to the philosopher Michel Foucault who addressed this issue concerned with the relationships between truth and subjectivity. "The title advances what the sample is. Parresia means saying truthful and I oppose it to exist: to take for granted something that is not," explains the artist concerned with the effect that fake news has on society.
"Never before, architecture had been so far away, so unoccupied, from the socialization of spaces. This way of living could be defined as an architecture of violence and security. These new aesthetics of security, together with the projection of brilliant spaces of culture and entertainment, are sowing the technological and urban territory of dystopian ruins, ... are somatized by a new topography of terror, based on occupying all spaces hollows of the world".
Dionisio González
Most of the works that can be seen in the exhibition "Parresia and place" are photographs that the artist has taken on site and then digitally modified. First, he theorizes the projects he transforms into sketches that he subsequently inserts into the space to intervene. The artist establishes his work in series. In the CAC Málaga you can see: Dauphin Island, Las horas claras, Halong Series, Thinking Hanoi, Thinking Amsterdam, Inter-Actions, Busan Project, Installation: Build, live, exist, Thinking Central Park, Dialectical Landscape and Cartografias para a remoção.
In the series Dauphin Island, González alters the space from the pre-existing buildings and locates others of reduced size on those empty spaces on the beach where the remains indicate a previous presence. The series is made on the island of the same name, belonging to the state of Alabama (USA) in spaces previously devastated by hurricanes and tornadoes such as El Katrina.
The Halong Series project highlights how the settlement habits of marginality are territorialized in invisible spaces. New Halong I (2013), Halong IV (2009), Halong IV (2009) and Halong VIII (2009) show how in Halong Bay, Vietnam, these sites are exposed to the ethnographic visibility among the floating villages, which They extend along 120 km of coastline.
The clear hours are photographs from Venice where González determined the exact locations of absent architectures projected for this city by architects such as Wright, Le Corbusier, Kahn and Rossi.
In Cartografías para a remoção the artist admits that he not only intervenes, but also interferes with the extreme problems of the favelas of Brazil, as a planner or as a social regulator, as can be seen in the works Heliopolis (2006), Nova Heliopolis (2006), Nova Heliopolis (2006), Nova Ipiranga (2006), Acqua Gasosa I (2006), Nova Acqua Gasosa I (2007), Ipiranga II (2006), Comercial Santo Amaro (2007) and the video Revelação do subúrbio (2007).
From four looks on Central Park: Frederick Law Olmsted, Walter Benjamin, J. D. Salinger and Lady Gaga, González proposes the idea of refuge as a monument and the aerial extension of the park as a dialectical resource. The photographic series Thinking Central Park presents small constructive "actions" in the park that operate as cabins or cabins that, as Bachelard pointed out, constitute focused solitude. They are part of this series Olmestd's Eye (2017) and Lady Gaga's Belvedere (2017). In addition, the series Dialectical Landscape, in black and white, seeks an ideation of the urban landscape and is, in turn, a tribute to Smithson who was passionate about orthophotographs and aerial views from where to contemplate earth movements and the transformation of the territory, as can be seen in Dialectical Landscape I, II, III, IV, V, VI and VII (2017).
Installation: Build, live, exist is a set of photographs, documents, models and holographs that center the history of two residential houses of the mid-twentieth century: The Celan House and the Madeleine House, executed by Marcel Breuer and Erich Mendelsohn respectively.
Busan Project VI (2011) shows the project that the authorities of the city of Busan proposed to González. An intervention study on the degraded hills that surround the metropolis.
On the other hand, the series Inter-Actions reveals a set of art / facts wrapped by a poetics of the place, in the words of Jean-Louis Déotte, the works inform, aparatizan the addressees, in this case, from the place.
You can also watch the video Thinking Amsterdam (2018), where, from an eccentric or peripheral vision of Amsterdam and through architectures executed in the last two decades.
Finally Thinking Hanoi (2009), relates the more than twenty lakes in the city with the unhealthy flow of motorcycles.
