"We are all co-authors of this dancing exuberance, for even our inabilities are having a roast. We are the authors of ourselves, co-authoring a gigantic Dostoevsky novel starring clowns. This entire thing we're involved with called the world is an opportunity to exhibit how exciting alienation can be. Life is a matter of a miracle that is collected over time by moments flabbergasted to be in each others' presence. The world is an exam, to see if we can rise into the direct experiences. Our eyesight is here as a test, to see if we can see beyond it. Matter is here as a test for our curiosity. Doubt is here as an exam for our vitality. Thomas Mann wrote that he would rather participate in life than write a hundred stories. Giacometti was once run down by a car, and he recalled falling into a lucid faint - a sudden exhilaration as he realized at last, something was happening to him."
Speed Levitch en Waking Life.
viernes, 7 de agosto de 2009
jueves, 6 de agosto de 2009
We Insist
The mirror was there, in front of our eyes. At first it looked like a hole, but when we saw what it was reflecting, its content became a reiteration of our reality, the reality in our side. Against the work, we were exposed to witness a wonderful game of perception and with diverse readings. Two dimensions came together at the act of watching. The first dimension was at the stage were the installation was placed: the borderline, the sky, the wires, and the light. The overall picture. The second one consisted in the particular picture held in every one of the more than 30 mirrors that were arranged as a mosaic that was the central part of the piece. The fragmented and the specific reality.
The space repeated itself over and over, like a multiplicity of our image, and every tree, house, wire, and floor, which peacefully adorned the background behind us. For a moment it was possible to imagine that the primordial sense of the piece was no other than to serve as a strange and restless decoration. Nevertheless, the work of dancers Mia Habib, Rani Nair and sound artist Jassem Hindi, proposed precisely something more complex. It insisted that we can never forget about that territory, that we should constantly think about our condition through our limits and borders.
It looked as if they were telling us that the wall was a nothing but a reminder of our everyday life: The wall is there, and all of us are here, persisting, crossing and contemplating daily, we are being constrained into a territory, an unchangeable political and cultural limitation. Finally, the acknowledgement that the life here is as important meaningful and unique as the lives on the other side.
For each mirror, we are a lot of pieces, because we understand that the reality is not just one only, and sure it is personal and untransferable, but it can also be shared. Then, what happens here does not just stays here, it crosses the boundaries or we keep it with ourselves when we cross this constant traffic space we call border.
The mirrors were there.
*The photographic testimony that accompanies this text presents “We Insist” a night before the official exhibition and a day after the event “Running into Political Equator”. Apparently it was completely destroyed by young habitants of the surroundings and just a few pieces of mirrors and wood remains as proof.
Julio Torres, julio de 2009.
The mirror was there, in front of our eyes. At first it looked like a hole, but when we saw what it was reflecting, its content became a reiteration of our reality, the reality in our side. Against the work, we were exposed to witness a wonderful game of perception and with diverse readings. Two dimensions came together at the act of watching. The first dimension was at the stage were the installation was placed: the borderline, the sky, the wires, and the light. The overall picture. The second one consisted in the particular picture held in every one of the more than 30 mirrors that were arranged as a mosaic that was the central part of the piece. The fragmented and the specific reality.
The space repeated itself over and over, like a multiplicity of our image, and every tree, house, wire, and floor, which peacefully adorned the background behind us. For a moment it was possible to imagine that the primordial sense of the piece was no other than to serve as a strange and restless decoration. Nevertheless, the work of dancers Mia Habib, Rani Nair and sound artist Jassem Hindi, proposed precisely something more complex. It insisted that we can never forget about that territory, that we should constantly think about our condition through our limits and borders.
It looked as if they were telling us that the wall was a nothing but a reminder of our everyday life: The wall is there, and all of us are here, persisting, crossing and contemplating daily, we are being constrained into a territory, an unchangeable political and cultural limitation. Finally, the acknowledgement that the life here is as important meaningful and unique as the lives on the other side.
For each mirror, we are a lot of pieces, because we understand that the reality is not just one only, and sure it is personal and untransferable, but it can also be shared. Then, what happens here does not just stays here, it crosses the boundaries or we keep it with ourselves when we cross this constant traffic space we call border.
The mirrors were there.
*The photographic testimony that accompanies this text presents “We Insist” a night before the official exhibition and a day after the event “Running into Political Equator”. Apparently it was completely destroyed by young habitants of the surroundings and just a few pieces of mirrors and wood remains as proof.
Julio Torres, julio de 2009.
La memoria es un mapa en el que se trazan, a partir de nuestro contacto con el exterior, diferentes líneas, figuras y directrices que nos remiten a la parte más primordial de cada uno. Como seres humanos, necesitamos de nuestra memoria para establecer constantes conexiones con el entorno, configurar y reconfigurar el registro de nuestras experiencias y aprendizajes; tener la posibilidad de regresar y con ello darle sentido al discurso, a la imagen o a nuestra propia vida.
En un mundo que se desvanece tal como lo conocíamos en instantes previos, la obra de arte aparece como el objeto que promete la preservación de aquello memorable acerca de ese mundo. Ya sea en imagen fotográfica, en objeto escultórico, dibujo o texto, vertimos los deseos, las pasiones, los miedos, los anhelos… en suma, todo aquello con lo que precisamos recordar y ser recordados.
Para esta presentación de Proyectos Finales de la asignatura Tópicos de Nuevas Tendencias, Marisol Valdez propone un despliegue entre fotografías, objetos personales, dibujos y textos que nos hablan sobre la insistencia por mantener protegido lo que consideramos valioso de la inminente desaparición, del instante que se nos escurre de las manos.
Por su parte, Alejandrina Núñez nos presenta un ejercicio interactivo mediante dibujos y diálogos, donde se busca reflexionar acerca de la importancia de las palabras usadas en frases casuales, a veces innecesarias; de cómo uno las percibe y decide conservarlas o ignorarlas.
Finalmente, la instalación de Carolina Aguilar intenta dejar al descubierto la dialéctica entre individuo y ciudad, los procesos de sensibilización del ser humano frente a su entorno inmediato y la activación de la memoria. Su necesidad por aferrarse a lo que tiene a su alrededor motivada por el miedo a perder un sentido tan invaluable como lo es la vista.
Tres piezas de tres jóvenes artistas que parecen indicarnos que en la experiencia estética, no importa el medio por el cual se transite para llegar a ella, la relevancia radica en aquello que deseamos llevarnos con nosotros mismos y mantener latente ese recuerdo.
Julio A. Torres
*Texto de presentación para la expo de proyectos finales de la materia "Tópicos de Nuevas Tendencias" de la EScuela de Artes, Mexicali.
En un mundo que se desvanece tal como lo conocíamos en instantes previos, la obra de arte aparece como el objeto que promete la preservación de aquello memorable acerca de ese mundo. Ya sea en imagen fotográfica, en objeto escultórico, dibujo o texto, vertimos los deseos, las pasiones, los miedos, los anhelos… en suma, todo aquello con lo que precisamos recordar y ser recordados.
Para esta presentación de Proyectos Finales de la asignatura Tópicos de Nuevas Tendencias, Marisol Valdez propone un despliegue entre fotografías, objetos personales, dibujos y textos que nos hablan sobre la insistencia por mantener protegido lo que consideramos valioso de la inminente desaparición, del instante que se nos escurre de las manos.
Por su parte, Alejandrina Núñez nos presenta un ejercicio interactivo mediante dibujos y diálogos, donde se busca reflexionar acerca de la importancia de las palabras usadas en frases casuales, a veces innecesarias; de cómo uno las percibe y decide conservarlas o ignorarlas.
Finalmente, la instalación de Carolina Aguilar intenta dejar al descubierto la dialéctica entre individuo y ciudad, los procesos de sensibilización del ser humano frente a su entorno inmediato y la activación de la memoria. Su necesidad por aferrarse a lo que tiene a su alrededor motivada por el miedo a perder un sentido tan invaluable como lo es la vista.
Tres piezas de tres jóvenes artistas que parecen indicarnos que en la experiencia estética, no importa el medio por el cual se transite para llegar a ella, la relevancia radica en aquello que deseamos llevarnos con nosotros mismos y mantener latente ese recuerdo.
Julio A. Torres
*Texto de presentación para la expo de proyectos finales de la materia "Tópicos de Nuevas Tendencias" de la EScuela de Artes, Mexicali.
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