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Freelance translator and/or interpreter, Verified site user
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Services
Translation, Interpreting, Editing/proofreading
Expertise
Specializes in:
Law: Contract(s)
Law: Patents, Trademarks, Copyright
Law (general)
Linguistics
Volunteer / Pro-bono work
Open to considering volunteer work for registered non-profit organizations
Spanish to English: Craft, art, artifice and disturbance General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Spanish Cuando Damien Hirst enfatiza en la necesidad de generar extrañamiento en el arte, coloca en el centro de atención al menos dos elementos fundamentales. Por un lado, el carácter “relacional” de las obras en la evolución y elaboración simbólica de un artista, y la naturaleza del “espectador”. En este caso, un sujeto que se ha establecido, al menos en los últimos treinta años como sujeto de la autoafirmación, desterrando la negatividad de sí, y del otro, para diluirse en la “panacea” de la positividad, es decir, en la ausencia de un contrario.
Ahora, cuando Damien Hirst propone colocar en un mismo espacio su serie de pinturas abstractas Visual Candy y The Physical Impossibility of Death in the Mind of Someone Living, el extrañamiento está en el centro de la concepción del artista, del mismo modo que una comprensión en torno a la complejidad de los procesos relacionados con el arte contemporáneo. Pero por sobre todas las cosas, Damien Hirst enfatiza en el carácter de un oficio que no puede estar ni establecido, ni “apuntalado” desde la necesidad de la perturbación. He insistido bastante en el carácter contradictorio de la perturbación en cierto arte contemporáneo; es decir, una producción que solo pretende generar sobresalto y estupor, pero que en ninguno de los casos correlaciona estos estados “anímicos” con una reflexión en torno a los procesos del arte. La perturbación asociada a cierta producción “simbólica” en el arte contemporáneo funciona desde lo sensorial y lo emotivo, sin que cuestionemos de donde provienen estas “afecciones”. Esta incapacidad de cuestionamiento está relacionada con la “anulación” de la negatividad de sí y del otro. Si la duda nos hace ser o al menos “parecer” animal rationale una vez que nos somete al extrañamiento, la perturbación nos conduce de manera creciente a un estado ausente de narratividad, visual y conceptual. Al menos cierto arte contemporáneo no pretende cuestionar, no pretende poner en duda una elaboración simbólica y mucho menos intenta correlacionarla en una narratividad histórica; en todo caso, funciona como aseveración, como objeto de devoción, “manufactura” o sencillamente como brand. Como han sido emplazadas desde la ligereza, lo relevante no es la comunicación sino la performatividad asociada a ella, la capacidad de capitalización mediática de sí y por supuesto, el rendimiento del “artista” en el mercado. El prestidigitador que por sobre todas las cosas puede ser también el “artista contemporáneo”, rejuvenece el viejo truco del gato por liebre o en el caso cubano, del pollo por pescado.
Translation - English When Damien Hirst emphasizes the need to generate
defamiliarization in art, he puts the spotlight on at least two
fundamental elements. On the one hand, the "relational" character
of the art works in the evolution and symbolic elaboration of an
artist, and the nature of the "spectator". In this case, a
subject that has established itself, at least in the last thirty
years as a subject of self-affirmation, banishing the negativity
of itself, and of the other, to lessen itself in the "panacea" of
positivity, that is, in the absence of an opposite.
Now, when Damien Hirst proposes to place in the same space his
series of abstract paintings Visual Candy and The Physical
Impossibility of Death in the Mind of Someone Living,
defamiliarization is at the center of the artist's conception, as
well as an understanding of the complexity of the processes
related to contemporary art. But above all, Damien Hirst
emphasizes the character of a craft that can neither be
established nor "underpinned" by the need for disruption. I have
very often insisted on the contradictory character of perturbance
in certain contemporary art; that is to say, a production that
only intends to bring about shock and stupor, but that in none of
the cases correlates these "spirited" states with a reflection on
the artistic process. The perturbance associated with a certain
"symbolic" production in contemporary art works from the sensory
and the emotive, without us questioning where these "affections"
come from. This inability to question is related to the
"annulment" of the negativity of the self and the other. If
uncertainty makes us be or at least "seem to be" animal
rationale once it inmerses us in defamiliarization, perturbance
increasingly introduces us to a state absent of visual and
conceptual narrativity. At least some contemporary art does not
pretend to question nor put in doubt a symbolic elaboration, much
less try to correlate it to a historical narrative; in any case,
it functions as an assertion, as an object of devotion,
"manufacture" or simply as a brand. As they have been established
in levity, what is relevant is not the communication but the
performativity associated to it, its capacity for media
capitalization and, of course, the rendition of the "artist" in
the market. The prestidigitator, who above all things can also be
the "contemporary artist", restores the old trick of the pig
in a poke or, in the Cuban case, to give cat for hare.
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Translation education
Bachelor's degree - University of Havana
Experience
Years of experience: 4. Registered at ProZ.com: Apr 2023.
I’m a professional translator. I’ve got a bachelor’s degree in translation and interpreting from the University of Havana. I worked as a translator and interpreter for the Cuban government for a about a year. I worked as proofreader translator for a visual arts magazine for a little over a year. I’ve got a professional translator certificate from the University of North Carolina at Charlotte as well as a Court Interpreter Certificate from the University of Central Florida.
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