Movimiento

Taking Aira’s idea of ​​“the “anything” formula like Open Sesame of creation” (Aira, 2013), I wanted to feel free to create whatever appeared to me with the fewest filters possible. I think it is difficult to get to that point, especially when the medium through which one expresses oneself has the complexity of the technical and the mechanical.

How can I create a work in which there is such freedom? It is a great challenge, however I do not want to necessarily reach that goal but rather propose it as a starting point for experimentation, play and research. Curiosity as a north, as an open ending, as a question whose answer is wandering in the air around us but we know that if we obtain it, we would lose a lot of room to know, find out, dance and marvel.

Technical, aesthetic and conceptual development

When I sat down to make this work, there was a point where I did not want to produce any work. Because with that action I was going to be affirming something, I was going to be proclaiming that work as the final product and thus leaving all other possibilities out. In some ways, it makes me sad to finally have to create a final product. This is because this moment in which I am writing these words is what Aira refers to as the “not-done” (Aira, 2013), a moment in which I feel very comfortable since I find enormous pleasure in research and creation. And it is with these words, with literature, that Aira believes that “the silver bridge laid between what is done and what is not done” can be generated (Aira, 2013), a bridge that I very happily want to create, so that in some way the artistic experience can be connected in its entirety or at least in the greatest number of links possible.

The first thing we see when playing the work is an explosion, an explosion that represents the visual and conceptual basis of the work. Visual because it is always playing during its development and conceptual because I use the explosion to start from scratch and allow me, as Aira mentions, to do “anything.”

From that initial kick, I decided to create my work with “fragments of fragments.” The visual cuts are taken from a 1961 short film titled “Very Nice, Very Nice” by Canadian Arthur Lipsett. The short film is an audiovisual collage. Lipsett used still images taken from various sources and combined them with texts from interviews, films and various sound designs. That is, a new and unique work created by reproducing other works. On the other hand, the sound cuts are extracts from the Album “Endtroducing” from 1996, the work of music producer DJ Shadow. This album has a similar imprint to Lipsett’s short film since it was made practically entirely with samples of interviews, films and songs from various musical genres, a sound collage.

“The work of art always implied its own reproduction. By proposing itself to perception and memory, it is inevitable that they give off ghosts in time and space. In that sense the work of art is just the model of its reproductions, and almost nothing more” (Aira, 2013). How much of a work has a personal imprint and how much are ghosts that emerge from other works? Contagion through other works is essential for my creations, and I think that what happens when one, from a permeable and equanimous position, allows oneself to be influenced by the imprint of another, is essential for the development of art as a social practice. By using images and audios of other creations, which in turn were works made with extracts from other works, I wanted to emphasize the cyclical nature of this situation in which we are inevitably immersed, as Fricke mentions to Fillou in Nuevos Medios: “Whatever I say will not make any sense if it does not encourage you to complete my ideas with yours” (Fricke, 1999).

Literature

FRICKE, Christiane. (1999). “Nuevos Medios” en AAVV. Arte de siglo XX. Vol. II. München: Taschen.

AIRA, César. ([2013], 2016). “Sobre el arte contemporáneo” en Sobre el arte contemporáneo. Buenos Aires: Literatura Random House, pp. 11-56.