Revistas

“Magazines” is a work that arises from a feeling of nostalgia, it brings the possibility of living those afternoons where I sat down to look through my parents’ magazines, since they have a wide collection of magazines such as Architecture headlines or manuals for the first versions of Excel. On those hot days, the noise of cicadas, while in the background you hear the classic broadcast of the radio program, Aspen 102.3. The dynamic is to click on the screen to turn the pages of the magazine, so that the viewer can immerse themselves in the content. Inspired by a quote from Aira in “On Contemporary Art”, where she talks about a book that she liked so much that she kept it and bought a paperback edition so as not to stain it, the very detailed description made me reconnect with these lost memories that were previously everyday life but are now looks into the past and kept in a code, not so that I don’t forget them, but so that others can reconnect with my work. I may die and people will forget about me, but maybe someone will remember that piece about a magazine.

Technical, aesthetic and conceptual development

I began this work without having any idea what I was going to do, so I prepared to read the texts, I started with “On Contemporary Art” by Aira Cesar, I stopped at the following quote: “It was in 1967, when I bought in a bookstore in Buenos Aires the book Marchand du Sel, the first compilation of Marcel Duchamp’s writings made by Michel Sanouillet. That book, published in 1959 by Erik’s Le Terrain Vague editions Losfeld, brought a transparent foldout in which the Great Glass was photographed, and it has become a valuable collector’s item - so much so that I had to buy a paperback reissue so as not to continue handling it and to be able to keep it in good condition in case I ever want to sell it. From the precious first edition to the cheap disposable copy, the content of a book, with all its quality and information, can be transferred without loss. the perfect reproduction of itself.” Which was what inspired me for this Tp, knowing what I wanted to do, I dedicated myself to drawing the scenarios and started writing the code, wanting to capture the previously mentioned feeling, it occurred to me to make several scenarios, where I simulate reading a magazine, the first would be the place where the viewer is and the others the content of the magazine, I decided to fill the pages with one of my interests: Art History, using Blanca Guilera’s videos. Once the visual and sound aspect was finished, I realized that what drove me was wanting someone else to be able to connect with my work, to collectively share that memory through digital, you could say that it was a “digital collage”, we can relate it to what Aira talks about “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 (…) It is true, in fact, that what could be called “Reproduction technology” (or reproduction-representation-documentation) has been perfected in recent decades, incorporating movement, sound, and, with digitalization, the possibility of compressing enormous amounts of information in a minimum space.” which talks about how art was always reproduced and was born for the same thing, as well as our first works are a reproduction of others, although now instead of using traditional means we use digitalization. We can also find a similar example in Fricke’s “New Media” “Likewise, Nicolas Schoffer (page 582) organized a great presentation for his kinetic and, later, cybernetic sculptures. He was the first artist to equip his works with photoelectric cells, sensors and microphones, with electronic automatic control systems sensitive to sound and silence, movement, light and darkness.” It is incredible how the passage of time says that all works must undergo changes in order to be appreciated.

Literature

Función de las escenas por Cristhina Ariadna Davila Moreno Link: https://editor.p5js.org/thinadavila02/sketches/NH10_92dn

La historia de Hildegart Rodríguez, la Pigmalión española. Por Blanca Guilera link: La historia de Hildegart Rodríguez, la Pigmalión española.

Hellelil y Hildebrand, el amor trágico. Por Blanca Guilera Hellelil y Hildebrand, el amor trágico

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