In Gonzalo Lebrija’s single- channel video Aranjuez (2002), the camera
has the ability to record the invisible. But
the work acquires its greatest complexity in the editing, and this is the source of its physicality, which revels in the contrast between the dramatic charge of documentary images obtained after
a football match and the banality of Herb Albert and the Tijuana Brass’s pop version of the Concierto de Aranjuez by the Spanish composer Joaquín Rodrigo.
Luckily, not everything produced in the bull market was lost when the market recently crashed. Among other things, an excellent artefact survives: the 2006 video Asterión (Rider) by the artist Gonzalo Lebrija. This terse but lyrical art work is a superior par- able about man and power and what it feels like to
be master of the moment. After the recent denouement of wealth and power it seems particularly fitting, après le déluge, to trace out this video tale. Though it speaks of a time not so long ago when the global financial and art markets roared, its momentum and resolution bring it right into the present.
n September 2003, for an ambitious collective exhibition called
Mexico Illuminated (Reading, Philadelphia), Lebrija returned to the theme of flight, but this time from a more private perspec- tive.CatchmyFall,thepieceinquestion, is a slow-motion video recording in which the artist in pyjamas patterned like a starry sky is shown shamelessly bouncing up and down on a bed in a hotel room. Halfway between childish mischief and an acid trip, Catch my Fall, with its hyp- notic to-and-fro motion, remotely evokes the gentle, hilarious, precise scene
with the globe in Charlie Chaplin’s The Great Dictator.