Ciudad verde
Brief description.
I take as reference for this work, the ships of “Hernán Dompé” https://www.google.com/search?q=Hernan+Dompe+naves&tbm=isch&chips=q:hernan+dompe+naves,online_chips:artworks:VJ2wZI54Nvg%3D&hl=es-419&sa=
In the creative processes that I develop, I investigate within my own materialities (drawings, paintings, objects, sculptures, sounds); There may be parts, even entire blocks, that are transformed into different sets of works.
1”Agamben Giorgio” quotes “Michel Foucault”
“the inquiry into the past is nothing more than the shadow cast by an interrogation directed at the present.”
I always investigate the past of my actions to update them in the present, in that coming and going; I find greater solidity in my speech. It is an archeology within my work, a dialogue between my materials and processes.
I think of this work as a whole, generated by devices, a camera and a computer that generate images that are captured on different media.
The appearance of a sphere that contains within a sea where a ship sails, helmed by two crew members who arrive with sinister intentions, to our sphere, a sphere that reaches another sphere, the terrestrial sphere, to conquer it.
When I say crew I am talking about integrated, an integrated is a set of transistors, for many historians, the transistor is the greatest invention of the 20th century, an Intel Core i7 processor can have between 731 and 2.6 billion transistors, depending on the generation and specific model.
I pass the link of the stop motion that would be the continuation of what happens in this application.
Reality may be crossing a vortex, we could be sailing in plastic seas, painted skies, as if we were the protagonists of “The Truman Show”, the sphere that crosses the vortex brings us new realities.
“The place of the work of art has been shattered. Ergon and energeia are dissociated and the increasingly enigmatic concept of art, which will later be transformed by aesthetics into a true mystery, no longer resides in the work, but also and above all in the mind of the artist.”
It’s okay that “Agamben” is talking specifically about conceptual art, but what is represented in my mind happens there, it develops, sometimes it changes state, I’m looking for different media all the time and it doesn’t always materialize in the best way.
2- The Uruguayan painter, poet, art critic, theorist and teacher “Camnitzer Luis” reflects;
“In the process of making a work there is always a distance (even a discrepancy) between the initial conception and the final product. It is a factor that has long made me think that in reality the history of art is an accumulation of errors. That distance in a first step is a process of erosion. When the work is read, seen, or consumed in some way, there is a second distance that is created between the creator and the receiver. This is the second step in the erosion of information”.
It is practically impossible for the idea, dream or nightmare that an artist wants to capture not to be modified at some point in the process and reinterpretation of the artist himself and the recipients.
Bibliography
1”Agamben Giorgio” in Archeology of the work of art
2”Camnitzer Luis” in the chapter “Conceptual art and conceptualism in Latin America”