Usually our daily relationship with devices seems to be follow by certain absent-minder bond: this presupposition is questioned in a frontal and radical way by these photographs, motivated with an intense – more aseptic – look. As the author himself holds, these pictures emerge from a fascinating and closely observation of these common mechanisms (who does not daily face them around the neighborhood?!); they witness the attentive amazement before shape and form and before images with certain density or aplomb. The camera tries to establish an agreement with protagonism and the contusion of objects; we shouldn’t ignore the possible answer of
the logical portrait agreement. These relatively old machines refer to pass decades, but also to ever lasting toughness and hardeners of materials through time: our present time can’t work with out them. They conjugate the most perfect functionality with intrepid, sober o cheerful designs. Detach away from natural context by a subtle focus of the eye, they seem to be objects from a strange world, and their autonomy becomes problematic in their apparent statism. Nevertheless, this apparent independence can easily be questioned; these photographs deny the robotic autonomy, they seam to demand our presence, the necessarily human correlation that “knows ability”. They mainly allude to a masculine rather than feminine skill, less delicate than absolute: they still need even today a rather decision, physical force, a certain normal-common risk.
These photographs release an aesthetic presence of somewhat that routine can manage to hide (who could possible assure what future ups and downs won’t be meaning an ironic destiny, becoming valued for its demands from unusual auctions in sophisticated antique-dealers). In this complex discourse entwines the utility, the
audacious retrospective design and the apparent documentary value from the modernity always in crisis that does not hesitate in keep using the appliances although they escape from logical hegemony (of the newest, of the discarded). At the same time, Jorge Miño´s determined look isolates them with masterly and joins the tension of what is left out in the picture and throws at them a double paradoxical result: the use-utility or the anachronism of these mechanisms can turn out difficult to delimit, and the intimate teleology that governs them can become indefinable in the nearby future.