Espacios internos

Brief description.

“Internal Spaces” is an interactive installation that invites the viewer to reflect on the relationship between consciousness, limits and space. Upon entering through the door, the visitor will enter a dynamic environment where shapes emit voice sounds as they collide with the limits of space. This work is inspired by the idea that “the inner space is a place where consciousness meets the outside world” (Gustavo Carreira, “The inner space”, 1977).

Technical, aesthetic and conceptual development

“Internal Spaces” combines visual and sound elements to create an immersive experience that questions the nature of consciousness and its relationship with space. Aira mentioned that contemporary art is characterized by its ability to “displace” the viewer, making him feel that he is in a new and unknown place and about the importance of “fragmentation.” “Contemporary art is a space for experimentation and reflection” (Aira, 2013). This work creates a similar experience: it transports the viewer to an interior space with the use of simple geometric shapes and voice sounds that recreate reassembly and fragmentation.

The aesthetics of the cube are intended to represent the human mind, with its limits marked as a symbol of separation between consciousness and the subconscious, reality and fantasy, dream spaces: the limits are not absolute. Its translucency as a connection between consciousness and the environment, or different mental states. The door seeks to highlight its function: It stops and separates, it breaks the space, it splits it, we could say that it protects us, it barricades us. Arns’ idea of ​​“materiality” and “tactility” were two points that allowed us to delve into the minimalist and abstract aesthetic of this work as well as Perec’s very programmatic description of spaces and their fillings in “Species of Spaces.”

“Internal Spaces” is mainly based on the idea that “space is a place where memory and experience meet” (Perec, 1985). As well as with the theory of “consciousness as space” developed by philosophers such as Gaston Bachelard and Maurice Merleau-Ponty. Perec talks about the importance of space in the construction of identity and memory, hence the use of voice sounds in the work, in order to evoke an experience that is on the threshold between consciousness and unconsciousness.

How can we think about nothingness without automatically putting something around that nothingness, which produces a hole, in which something will quickly be put, a practice, a function, a destiny, a look, a need, an absence, a surplus…? Trying to cross the improbable limits could have habitable status.

Literature

• Gustavo Carreira, “El espacio interior” (1977)
• Georges Perec, “Espacios de un hombre sentado” (1985)
• Gaston Bachelard, “La poética del espacio” (1958)
• Maurice Merleau-Ponty, “Fenomenología de la percepción” (1945)
• César Aira, “Sobre el arte contemporáneo” (2013)
• Christiane Fricke, “Nuevos Medios” (1999)
• Inke Arns, “El código como acto de habla performativo” (2005)