La nada y el todo

To create “Nothing and Everything” I took as inspiration and starting point the formation of happenings, developed in the text “Happenings in the New York scene” by Allan, Kaprow. My idea was to take one of the main “contrapositions between theatrical works and happenings” which says that these “have neither a plot nor an obvious philosophy and are materialized in an improvised way, resembling contemporary painting, where we do not know what is going to happen next.”

That is without a doubt, in my opinion, one of the most beautiful ways of experiencing art, linked to surprise, chance, where it seems that there are no limitations or pressures, because at the end of the day where there is limitation, art is not very well received. It is from that reflection that I wanted to capture the destruction of our most hidden limit in an interactive image. Likewise, I was interested in the idea of ​​representing nothing and everything, everything enclosed in a glass box but at the same time very fragile, very easy to break.

Technical, aesthetic and conceptual development

To portray it I started with a colorful and not so vibrant box, because it is covered by a glass cage. I added an interaction with the keyboard to fade that cage, the box, and another with the mouse wheel to be able to enter it. In turn, the “soul,” preserving its shape, adopts a larger size, knowing how to destroy this kind of wall, but in any case, it does not cease to exist, it is inside it, trained. When we want to understand it up close we are standing in a calm environment, there are no strong colors that threaten us, we can see from a place of calm the entire path we took to find ourselves in that place.

The face of the concept is the one that I see the clearest, I am interested in the way in which César Aira manifests himself when he writes “On contemporary art”, where he states that art “must create new values” and that it does not matter too much if it is done in the correct way, and if we talk about a “correct” way of making art it is because we understand that it is “obeying already established quality parameters.” He says that to create values ​​you need to intervene in the viewer’s personal history, introduce a new thought or another way of seeing things, question them in some way. That is precisely what I want to generate with my work, to give the person who comes across it a moment to think about their cages and what click they have to do to start destroying it.

Literature

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

• KAPROW, Allan. ([2015], 2016). “Happenings en la escena newyorkina (1961)” en Entre el arte y la vida. Ensayos sobre el happening. Barcelona: Alpha Decay