Soledad

• The work “Soledad” is a work which was created with the intention that the viewer can become a participant in the work, but this participation will be in a controlled and limited way by its author. This is a quiet and somewhat psychedelic work if you like, with a large number of possible interactions that can be generated with the mouse and keyboard, the viewer can adapt the work to something that is pleasant to them and is to their liking both auditorily and visually, being able to enjoy a moment of tranquility and not necessarily in company. Soledad invites you to dedicate some time to it, testing its interactions, observing and enjoying the different scenarios it proposes, which can be combined to your liking and in almost infinite quantities.

By touching any of the following letters or numbers: 1, 2, 3, 4, 5, 6, 7, q, w, e, r,, t, y, a, s, d, f, g, h, j, k, z, x, c, v, b, n, m Y, interactions can be generated and also by moving the mouse over the work

Technical, aesthetic and conceptual development

Author Claire Bishop in “The art of installation and its heritage” suggests that installations directly present their elements to us so that we (the viewer) can experience and interact with them. This implies an emphasis on the sensory and achieving physical participation of the viewer in the work, so they become part of the piece on display.

Something similar happens in Soledad, where in a certain way, although not physical, the viewer can move around and through the work, by being able to modify it and act on it (but in a quite limited way because its author limits what is possible to do and modify in the work to his liking). The viewer can achieve this with the interactions available to them, modifying what is seen and heard from the screen and thus making the viewer active and able to feel the work. The subject then becomes a fundamental part of Soledad, a work which (like the installations) does not only expect to be contemplated and observed, but to be influenced in various ways and not necessarily with a logical and rational criterion.

This in a certain way relates us to what Boris Groys comments in his text “Installation Politics”, where he refers to who is the symbolic owner of the space where the work resides, explaining that sometimes this belongs to the artist and other times to the visitor/spectator.

Here I believe that this control/domain is distributed between the author and the viewer; However, the advantage always lies with the author, because although the viewer can modify what he sees and hears in various ways, he does so only within the limits of what the author allows, creating a false idea of ​​control for the viewer over the work, thus allowing him to adapt the work to something that feels comfortable but only as long as the limitations that the author created allow it.

Literature

BISHOP_ Claire. (2008). El arte de la instalación y su herencia.

GROYS, Boris. (2010). Política de la instalación.