PROCESS, STRUCTURE, HYPOTHESIS
What can a process do? A passage from ritual to rituality is an investigation grounded in a transdisciplinary art practice.
Although existing works can be seen here, the combination of new and old texts and fragments of previous pieces, the design and division of the website into four sections, and the visual and sculptural material that emerges from this process all give rise to a new work whose materiality is shaped by the particular characteristics of the Research Catalogue (RC), the platform on which I am presenting my research here.
The main objective of this exposition is thus to pay attention to a particular methodology, to how the work is made rather than to what is being made. The meaning of a question is to be found in the particular method we use to respond to the how. “Tell me how you search and I'll tell you what you're searching for” .
Based on Aby Warburg's hypothesis that images possess an intrinsic meaning which makes them partly independent of the context that gave birth to them , this exposition emphasizes the fact that images can be reused and reassembled in ways that set up new relationships and bring about new meanings. The juxtaposition of different languages and formats can be likened to Warburg's idea of the Atlas . This exposition is conceived as a synoptic presentation of differences in which I try to spark connections between different components, rather than trying to generate similarities between them. This methodology gives rise to a concept of relationship which allows for multiplicity, mutability, and gaps or lacunae, and creates a dispositif for reconfiguring the order of sensitive material by gathering together images, videos, sounds, and texts – sometimes presented as fragments – in a non-linear, non-narrative process.
This exposition, then, is proposed as a construction in itself, rather than a single, concrete, closed investigation.
The vertical as the space of definition (as in the sublime aspect of the painting hanging on the wall) and the horizontal as a space which potentiates transformation (as in a table) converge in RC in the particular resource of the computer screen in which the exposition is vertically inscribed and apparently given its final definition. The screen surface also allows the user to correct, change, or begin again, so that there is a constant opening of encounters, digressions, interruptions and multiplicity.
Although different production times and materials intersect in the viewer’s experience of this on-screen exposition, I attempt to create in her/him a sense of place and of an open process; a new point of entry into the hidden spaces of creation. This is done without denying that the sensation I wish to create is a product of previous work with physical material in the studio and exhibition space.
It has taken time to build up this exposition: the book, Un Atletismo Afectivo, was produced in 2016, the documentary, Trenza, in 2017, and the pieces that came out of the production of these two works (gathered in the section Braiding oneself) were made in the course of 2018. Although each of these are part of the same creative process, they are developed in separate sections so that they can also be understood independently and sequentially.
All of these works are based on my relationship to a particular space: the fields of Aixerrota, next to La Galea, a line of cliffs in Algorta (Bizkaia, Basque Country).
Un Atletismo Afectivo is an attempt to carry across the runner's self-immersion into the making of art through images of my work and studio. It includes writing, collage and photography. Trenza observes the transformation of the same place into a space for a yearly paella feast using visual, written, and aural analogies, or analogies to relationships and affect, in three different processes of creation – nature, life and art. This piece, therefore, adds a third process, connecting artistic creation and the construction of collective space for celebration from a different point of view: the animal’s. Here, the process is based on the bowerbird’s building of its folly for the courting of the female bird.