broque

Technical, aesthetic and conceptual development

Is the work a dream? of the artist? of the viewer?

figures strange in their proportions, suspended materials, objects that can be in motion, remain immutable, move through different spaces or stop.

From an experience of action, more than a plot, and under a dreamlike logic, Broque proposes a series of finite combinations within a system whose foundation is not to guide the public. It is made up of different scenes that we can access through previously assigned keys. All this will not be revealed to the viewer, who will have to feel his way through it.

The work is presented as an object open to the viewer’s own experience. It is in the attempt to arrive at a form that the public becomes the artist of its development. as a kind of external editor, in a live montage of the scenes. distancing it from an idea of ​​a closed work with a future imposed by the artist, but rather it allows generating the false illusion of the incommensurable. what cannot be covered.

a public - embodied in Bishop’s words or emancipated according to Ranciere -, far from the gaze of “pure” contemplation. an audience that is an integral part of the construction of the work in similarity to the modes of happening, where the work places it, thinks about it, introduces it and activates it.

The proposal also presupposes a possible feeling of frustration, or at least the discomfort of a public trying to find the decoding keys of the work, already given.

This is very important from the point of view of the treatment of the public, since although when standing in front of the work he is faced with a range of possibilities, the fact of not announcing which key is used to change the scene or object, places him in an uncomfortable place with respect to the work. “like playing a game without knowing the rules.”

In some blog someone said that Claes Oldenburg is not interested in closed spaces and prefers open spaces, that he wants the viewer to touch his work and mentions that “he almost forces it with those colors and those shapes that awaken the senses”, that some of his works in fact deteriorate if the viewer (user) does not participate in them. Thus, the audience occupies a totally active role - as we already said, in this proposal - that, although it does not completely discard the contemplative aspect (a spectator could stand in front of the screen and not touch anything until the work ends), it is prepared for other types of experiences.

intuition. intervention. waking up from a dream, a nightmare in the middle of the night. grope forward. fingertips rubbing against the wall, looking for the light switch almost without seeing anything. where do we step? how do we step? move forward, progress, continue…

Broque is always offered in the present tense but its tenses are determined by the viewer themselves. His action and his waiting modify the times of the work (taking our own times).

Biography

• On contemporary art César Aira 2010 Editorial Grijalbo-Mondadori. -Claire Bishop. The art of installation and its heritage.
• Article previously published under the title “The Art of Installation and its legacy”, in The Installations in the IVAM Collection.
• Jacques Ranciere The emancipated spectator. Chapter 1 (the emancipated spectator).
• Susan Sontag against interpretation. Happening An Art of Juxtaposition.