{"id":2509,"date":"2026-06-12T12:12:52","date_gmt":"2026-06-12T18:12:52","guid":{"rendered":"https:\/\/ilanlieberman.com\/?p=2509"},"modified":"2026-06-12T12:26:20","modified_gmt":"2026-06-12T18:26:20","slug":"para-ver-mejor-mas-vale-entrecerrar-los-ojos","status":"publish","type":"post","link":"https:\/\/ilanlieberman.com\/en\/works\/2026\/para-ver-mejor-mas-vale-entrecerrar-los-ojos\/","title":{"rendered":"To see better, it is best to squint"},"content":{"rendered":"

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View from Confinement<\/i>, acrylic on paper, 23.4 x 31.2 in, 2026<\/p>\n

 <\/p>\n

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It’s Clearing Up<\/i>, acrylic on paper, 23.2 x 31.1 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Broken Windows<\/i>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Windows<\/i>, acrylic and oil on MDF, 15.7 x 20.7 in, 2025-2026<\/p>\n

\"\"<\/i><\/p>\n

Candles<\/i>, acrylic on MDF, 15.7 x 20.7 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Trio<\/i>, acrylic on MDF, 14.3 x 15.7 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Succession<\/i>, acrylic and oil on MDF, 47.2 x 31.5 in, 2025-2026<\/p>\n

\"\"<\/i><\/p>\n

Seesaw<\/i>, acrylic on MDF, 23.6 x 31.5 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Sun<\/i>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

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Seven Rays<\/i>, acrylic on MDF, 24.1 x 31.9 in, 2025<\/p>\n

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Diamonds<\/i>, acrylic on canvas, 31.5 x 41.3 in, 2025<\/p>\n

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Grid<\/i>, acrylic on canvas, 48.6 x 78.7 in, 2025<\/p>\n

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Inner Resplendence<\/i>, acrylic on MDF, 15.7 x 20.7 in, 2025<\/p>\n

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Cluster of Planets<\/i>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

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Night Landscape<\/i>, acrylic on canvas, 31.5 x 41.3 in, 2025<\/p>\n

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Paisaje blanco,<\/i> acr\u00edlico sobre tela, 160 x 200 cm, 2025<\/p>\n

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White Landscape<\/i>, acrylic on canvas, 63.0 x 78.7 in, 2025<\/p>\n

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Eyes That Are Moons<\/i>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

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Black Night<\/i>, acrylic on paper, 23.3 x 31.2 in, 2025<\/p>\n

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Movement in Three Stages<\/i>, acrylic on canvas, 63.8 x 78.7 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Mount<\/i>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

\"\"My <\/i><\/p>\n

Left Hand (Small)<\/i>, acrylic on MDF, 31.5 x 47.2 in, 2025<\/p>\n

\"\"My <\/i><\/p>\n

Left Hand<\/i>, acrylic on canvas, 47.2 x 68.9 in, 2025<\/p>\n

\"\"My <\/i><\/p>\n

Right Hand<\/i>, acrylic on linen, 57.1 x 74.8 in, 2025<\/p>\n

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Jellyfish in Gold<\/i>, acrylic on paper, 23.2 x 31.2 in, 2025<\/p>\n

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Jellyfish<\/i>, acrylic on paper, 23.1 x 31.1 in, 2025<\/p>\n

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Seascape<\/i>, acrylic and oil on canvas, 31.5 x 23.6 in, 2025-2026<\/p>\n

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Seascape II<\/i>, acrylic on MDF, 31.5 x 41.3 in, 2025<\/p>\n

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Moon and Sun<\/i>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

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The Moon and the Sun<\/i>, acrylic on canvas, 63.6 x 78.7 in, 2025<\/p>\n

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The Lion’s Den<\/i>, acrylic on paper, 23.1 x 31.1 in, 2025<\/p>\n

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Illumination<\/i>, acrylic on canvas, 39.4 x 39.4 in, 2025<\/p>\n

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Spiderweb Man<\/i>, acrylic on canvas, 31.5 x 31.5 in, 2025<\/p>\n

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Cleft<\/em>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

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Opposing Forces<\/i>, acrylic on canvas, 48.4 x 78.7 in, 2025<\/p>\n

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Fringes<\/i>, acrylic on MDF, 24.0 x 32.2 in, 2025<\/p>\n

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Copper Stripes<\/i>, acrylic and oil on canvas, 43.3 x 55.1 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

This Is<\/i>, acrylic on canvas, 42.7 x 45.9 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Specters<\/i>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

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Ascending and Descending Energies<\/i>, acrylic on canvas, 36.6 x 36.6 in, 2025<\/p>\n

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The Onlooker<\/i>, acrylic on paper, 23.2 x 31.2 in, 2025<\/p>\n

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Teeth<\/i>, acrylic on paper, 23.3 x 31.2 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Squares I<\/i>, acrylic on canvas, 39.4 x 39.4 in, 2025<\/p>\n

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Squares II<\/i>, acrylic on canvas, 39.4 x 39.4 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Growth<\/i>, acrylic on canvas, 78.7 x 63.8 in, 2025<\/p>\n

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Five Windows<\/i>, acrylic on MDF, 15.7 x 20.7 in, 2025<\/p>\n

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Cinco bolas, <\/i>acr\u00edlico sobre MDF, 61.3 x 81 cm, 2025<\/p>\n

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Five Balls<\/i>, acrylic on MDF, 24.1 x 31.9 in, 2025<\/p>\n

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Spiky-Haired Head<\/i>, acrylic on MDF, 31.5 x 23.6 in, 2025<\/p>\n

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Head (Picasso)<\/i>, acrylic on MDF, 31.5 x 23.6 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Head (Child)<\/i>, acrylic on canvas, 41.3 x 31.5 in, 2025<\/p>\n

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Head (The Little Buddha)<\/i>, acrylic on MDF, 31.5 x 23.6 in, 2025<\/p>\n

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Head (The Caesar)<\/i>, acrylic on MDF, 31.5 x 23.6 in, 2025<\/p>\n

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Glowing Forest<\/i>, acrylic on canvas, 47.2 x 63.0 in, 2025<\/p>\n

\"\"<\/i><\/p>\n

Sunset in Yellow<\/i>, acrylic on MDF, 48.2 x 36.8 in, 2025<\/p>\n

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Sunset<\/i>, acrylic on canvas, 63.0 x 47.2 in, 2025<\/p>\n

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Large Opening<\/i>, acrylic on canvas, 63.0 x 47.2 in, 2025<\/p>\n

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Mimesis Within the Haze:<\/strong><\/p>\n

Between the Visible, the Invisible, and the Unpredictable<\/strong><\/em><\/p>\n

By Otto C\u00e1zares<\/p>\n

The sacred formula of the Eleusinian Mysteries to turn (outer) sight into an authentic (inner) vision stated: “To see better, it is best to close your eyes.”<\/i> Twice widowed by trusting his vision less than his sight, Orpheus must have accompanied his exit from the underworld with such a formulation.<\/p>\n

A variation of that formula, “To see better, it is best to squint,”<\/i> alluded to by the title of this exhibition, combines the Greek verb mysthos<\/i> (the act of squinting while maintaining silence) and mist<\/i> (haze\/nebula). It is acting, in a single chord, between mysthos<\/i> and mist<\/i>.<\/p>\n

Squinting the eyes to see without too much sharpness. Sight on its way to becoming vision. What matters is to never cease evoking-invoking-summoning a certain floating character within what is observed. The narrowing of the eyelids or clouded sight, in-transparency or opacity, which invite an exchange of Glance\/Vision, Vision\/Glance that moves, like a comet, from the outer image to the inner image, and from the inner to the outer.<\/p>\n

In his reflective work on drawing, Memoirs of the Blind<\/i>, Jacques Derrida spoke about anticipation (which is done with the hand), as opposed to precipitation (which is done with the head). With the consequence that anticipation through the hand of drawing, moving even beyond the visible and the invisible, opens the path toward the unpredictable.
\nThe unpredictable knows time as it constructs expression.
\nI have the impression that the recent works of Il\u00e1n Lieberman seek a reconnection\u2014from vibrating and chromatic filaments\u2014to the memory of an ecstatic state. Recovering that state through the path of pictorial discipline, and seeking self-belonging within the work, unveils its content through the series. Serialization means that, although successive, each work is not chained to the next; rather, through repetition, it provides the opportunity to attempt to unveil a mimesis within the haze.
\nA glance within the haze. Unpredictable.
\nThe poet Edmond Jab\u00e8s wrote: “To attempt, on the fringes of tradition, to recover the paths of my sources.”<\/i> Il\u00e1n Lieberman also returns to his sources as an artist along the path of the margins. He returns to his sources by the wettest, foggiest road. Sources that are in a vaporous state.
\nHe does not even have to reach the foot of the source: upon approaching, he is already enveloped in an atmosphere. His diffuse source, scattered everywhere in thousands upon thousands of particles, ensures that, far more than just painting, Il\u00e1n Lieberman produces an unpredictable suspension.
\nIn the beautiful attempt to return to his sources via the unpredictable path, the diffuse source persists, which reminds me that when Kazuo Ishiguro wrote the novel An Artist of the Floating World<\/i>, the artist\u2019s return was to The House. Il\u00e1n undertook the journey to the House-Source from the margins, departing from two zones where he once stood: the zone of mourning and the zone of epiphany, which, later on, and having already completed the return journey, might have led him to utter an imaginary paraphrase of Meister Eckhart for this exhibition:<\/p>\n

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\u00abIf I were not, neither would this vision be.\u00bb<\/p>\n<\/blockquote>\n

Less a memory of the blind and more a memory of someone who has seen with squinted eyes, Il\u00e1n paints like one possessed, using anticipation-colors. He trusted his vision more than his sight, and Il\u00e1n, like Orpheus, accompanied his exit from the underworld with such a formulation, using the chromatic margins of the path, which wave like a hertzian wave. Colors, luminescences, iridescences. They wave with winks: Klee i-radiations, Rothko i-radiations. I-radiated colors of a certain fluorescence: a radioactive palette where chromatic i-radi-action occurs.<\/p>\n

In the experience, Il\u00e1n Lieberman carried the imprint of the guarantee of mourning, and the process was marked by anguish: “Solace does not bring solace,”<\/i> Maurice Blanchot rightly wrote.
\nUndertaking the path from the margins implied for Il\u00e1n Lieberman a feverish production of more than a hundred pictorial works: numerous canvases of different formats and scales, and abundant works on paper, which required a careful selection for the exhibition To see better, it is better to squint<\/i>, whose i-radi-action unfolds between the visible, the invisible, and the unpredictable.<\/p>\n<\/div>\n<\/div>\n

<\/p>","protected":false},"excerpt":{"rendered":"

View from Confinement, acrylic on paper, 23.4 x 31.2 in, 2026   It’s Clearing Up, acrylic on paper, 23.2 x 31.1 in, 2025 Broken Windows, acrylic on canvas, 47.2 x 63.0 in, 2025 Windows, acrylic and oil on MDF, 15.7 x 20.7 in, 2025-2026 Candles, acrylic on MDF, 15.7 x 20.7 in, 2025 Trio, acrylic […]<\/p>\n","protected":false},"author":3,"featured_media":2568,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-2509","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-works"],"wps_subtitle":"2025-2026","_links":{"self":[{"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/posts\/2509","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/comments?post=2509"}],"version-history":[{"count":19,"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/posts\/2509\/revisions"}],"predecessor-version":[{"id":2602,"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/posts\/2509\/revisions\/2602"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/media\/2568"}],"wp:attachment":[{"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/media?parent=2509"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/categories?post=2509"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ilanlieberman.com\/en\/wp-json\/wp\/v2\/tags?post=2509"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}