Sistemas en movimiento

The work “Systems in Motion” represents, through the constant visualization of different squares on the screen, the systems of which we are part as a society.

These systems, as we see in the work, are in constant movement, generating new ones, replacing the previous ones, but all structured from the same base.

By clicking, figuratively acting on these systems, we can observe that they disappear for a brief moment, but if we stop activating that click we will notice that the systems are constantly generated again, making it impossible as individuals and participants in the work to be able to stop this process that seems to have no end.

What would be the action that is represented by clicking? This will depend on each viewer and is completely subjective, which is why the work invites the viewer to reflect on their position in relation to the systems in which they recognize themselves as a participant and what actions they can execute, but in the same way it reminds them of how insignificant the actions of an individual are in relation to the collective of systems.

Technical, aesthetic and conceptual development

Hypertransformations (1975-1976), by Vera Molnár and De Kooning erased (1953), by Robert Rauschenberg.

After contemplating Hipertransformaciones I began to think about what the quadrilaterals located on the canvas could be representing, at first I assumed it was something aesthetic but thanks to the text by SIMÓ MULET, Toni. (2004). “The visual languages ​​of modernity: collage, assemblage and montage” I began to rethink the work from the abstraction of something else to represent, and after that I was never able to see the work with the same eyes again.

Thanks to this reflection, I came to the concept that quadrilaterals could be representations of systems, in the case of this work they were not in literal movement but the intersection of the different figures allowed me to feel a certain dynamism and balance in the work that led me to the conception of the idea of ​​“Systems in motion” and since I would make the work with a different technology, I looked for another way to represent the same idea.

Regarding De Kooning deleted, I could never have understood that work without having previously read HEINICH’s text, Nathalie. ([2014], 2017). “The work beyond the object” in The paradigm of contemporary art: structures of an artistic revolution.

This text made me rethink not only Rauschenberg’s work but all the works that I knew to date and, along with them, the importance of the story beyond the work.

I think that without the story that I am generating right now about my work, this would be a completely different story. I used the resource of erasing the work (for a few moments) as Rauschenberg did, only in this case with a completely different purpose, my intention is not to rethink the meaning of the work made/intervened but to generate a space for introspection for the viewer, which allows them to rethink their place in the world and in the systems of which they are a part.

This space will generate a completely different experience for each viewer, since each one will have different work or family situations or may even be from different countries and speak different languages.

I hope to know what reflection it has generated in the person who is reading this description after contemplating the work.