David Barro /// The Iconoclastic Vice Versa of Sculpture

There are many occasions where demolition is a sign of advancement, the only hypothesis or channeling of the future. Dictatorships – not only pictorial and sculptural – are hence formed after massive performances of the tearing down of a statue that represents power; a collective iconoclasm that seems inevitable. We are talking about the fall of a system, of an instituted order. We are talking about an extended field that is only possible when formed by this indisputable idea of power that emanates from the statue, so emphasized by Rosalind Krauss in her Passages in Modern Sculpture.
Resistance to the statue turns out to be the perfect means to transmit the vigor of an ideology; naturally; overcoming its non-timeliness poses a warning that nothing will ever be the same again. More than ever, the gesture now reflects a death sentence, just like that Malevich burial with the black painting acting as an icon or like the words that have always assassinated philosophy –the fact that Socrates committed suicide is a sign of this germinal and permanent funeral condition. And for no other reason it is in the funerals that more people appear, as if a new order was to begin and the inauguration of what is new was to be celebrated.