Hypostasis

In this world where everything has a beginning and an end, because inevitably that is the destiny of everything that exists, Hypostasis invites you to give it meaning and be responsible and generate your own story. By clicking you will move to the Catastrophe, you will be able to see that nucleus that follows you wherever you go, because that is the essence of our gravitational center, but if you decide not to click, the Hypostasis cube will appear uniform, serene, you will be able to see all its illuminated faces within our beautiful and unknown universe. Although if you click on them many times you will be able to witness their unification, the perfect composition between the origin and the end, our good part and our not so good part, how both converge to make a single line, what makes us ourselves.

Technical, aesthetic and conceptual development

Claire Bishop in her text “The art of installation and its heritage” takes us into this world where the viewer is considered an integral part of the conclusion of a work. With that in mind, I chose a type of interaction where he decides which part of the story he wants to keep and how he wants to form it, whether with the origin ‘Proélefsi’, with the catastrophe ‘Katastrofi’, or with the combination of the two. Since one of the avant-garde movements that I liked the most of all the ones we knew is cubism, I used two works by Russian artists (“Architectural Painting” by Liubov Popova, 1916 and “Flowers” ​​by Natalia Gonchorova, 1912) dedicated to cubofuturism.

Although the story as such has a narrative that is free to interpret, several readings can be made of it, such as the beginning of a dysfunctional relationship, where it is presented as uniform, complete and good and with the passage of time and bad experiences it ends up destroying and exploding (that is why in the background the computer is saying “Warning” or “Danger/Warning”).

On the other hand, in terms of significance, I wanted to play with the compositional elements of the project in general and as Groys Boris says in his text “Installation Policy” it is important to be aware of the reproduction of content. Even so, even if it is marketed/disseminated and establishes symbolizations through which we associate fragments of our history (such as space music with a film or documentary that we have seen), a work cannot be copied as such and it will not generate the same meanings since each unit contains its own subjectivity. That is why it is important to establish the Hypostasis when entering the piece, knowing the abstraction, not leaving aside the real that may exist in it.