rios

This work was inspired by a series of works by Georg Ness called “ELIRR (ELementaren IRRweg)” which means “elementary wrong paths”. Georg Nees was a German academic who pioneered computer art and generative graphics. In his works he unites science and art through the use of algorithms and other mathematical operations.

Today we live in a world marked by transformations and evolution. More than ever it is essential, through our own perception of what surrounds us, and especially through error and failure, to find structures that function as a mattress and shelter.

That is, finding our own “elemental wrong paths.”

Find a movement to surf the transformations, which are imposed on us like an unfathomable wave.

Technical, aesthetic and conceptual development

In this work we can see four columns formed by a set of lines, these have a vertical movement that fluctuates between the ceiling and the floor of the frame. The four “rivers” of lines oscillate maintaining an axis in the imaginary horizontal line that crosses through the middle of the work. We can also observe that when the lines ascend they release a trail that marks their passage, and as they descend this trail disappears. Which can generate a rhythmic effect and a certain musicality.

In his “antiglossary” Brea mentions the importance of referring to certain disciplines in English since these evolve so quickly that by the time we have found an adequate translation, this discipline may already have been replaced by another. It is very easy to get lost in this digital, changing, overwhelming and misunderstanding world, which is why it is essential to find certain refuges. Whether in art, socially or whatever each person finds themselves in. In the same way that a discipline of multimedia art can become obsolete in a short time, we ourselves can find ourselves at the wrong time, and be overwhelmed by the rapidity of the evolution of these times. As can be seen in the work, it seems important to me to discover a horizontal axis that supports us, from which we can swim with the current.

When producing works of art, the focus is primarily on the final result. You open any social network and in less than 5 minutes you can see dozens of finished works by different artists. Which can result in a feeling of competition or rush. I find it interesting that in the 2008 text, “Redefinition of artistic practices”, Brea states: “There are no works of art. There are work and practices that we can call artistic.” Personally I like this idea because it emphasizes the importance not of the work itself, but of the global work that surrounds the entire practice. Previously in the text Brea maintains: “The work itself, the activity that concretizes it, is actually what produces us.”

Literature

ABREA, José Luis. (2002). “Breve (y desordenado) antiglosario –o diccionario de tópicos- sobre el arte electrónico” en La era postmedia. Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: CASA Editorial, pp. 4-8.