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Lelia Driben

Art Critic (Argentina - México)
Rom the catalogue text for show "Land without words" , 1990.

Subtly suggested within semi-dark surroundings, the figures dwelling in Carlos Kravetz's paintings seem to emerge from the bottom of a remote origin, from times previous to time, from those first strokes drawn by the first men to depict themselves.(...) Some times approaching generously, almost epically to the space framed by the canvas, other times withdrawing themselves to a corner, these non-protagonists, these sorts of wild bisons are built with the sparkles of their own silence. And from that dwelling or sediment they succeed in attenuating the broad fluorescence of a red or adapting themselves, like a hand to a glove, to the moving impulse of a chiaroscuro, soothing it. lt's just that the figures spring from and return to the specific substance of their pictorial warp, a voiceless and soundless region where voice and sound are substance and color on the naked flatness of the canvas. There is no other memory or other traces than the painting itself, that that "Iand without words" of its texture, capable of spreading and withdrawing in its unyielding absence of signs other than those creating its objectual, evanescent and still irreducible condition of painting.
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