Golubinsky's Crusades

Some years ago I was attracted to Liliana Golubinsky's work because they reflected an "heroic" visual transmission that is either forgotten or ignored in current pictorial art, not to mention music. Later I witnessed how Golubinsky's work developed and grew in format, aided by multiple inclusions that speaks of a meticulousness also lacking in today's art. The reason for this is that Golubinsky needs surfaces which far from disturbing the narrative, they advance it. Thus the painter engages in a timeless Crusade through printed geographic charts, by whose overlapping Jerusalem may face the coast of Ecuador, and giant rivers can seem an Amazonian Nile or an African Mississippi. Golubinsky creates myriad images and, thanks to her, myriad images are reproduced in our rampant imagination, where we can find Knight Templars, Velazquianesque riders, feathered aborigines, and where a young Napoleon the Great can ride along Philippe II of Spain. Golubinsky tells the history of mankind, its endless struggle, its constant expansion and retraction. She does so using external situations, characterizing it, because those little figures we see in her work represent an incorrigible man who in all certainty will remain unchanged until the end of time. Like the Eleventh Century Queen Matilde, Liliana Golubinsky weaves her own version of the battle of Bayeux, and her contemporary tapestry repeats what we said above: we are yesterday's man, and it is almost impossible that today's man will be tomorrow's. Purpled ochres and deep blues that in the Argentine painter's mixed techniques seem like the dusks and dawns of the great battles. The oldest ones took place in the clamor of open fields or the sea; today, they delve behind PC screens, which in no way limits the exercise of an aggressive imagination.