Intervalo como entre-acto



intervalo como entreacto from verónica luyo on Vimeo.

Intervalo como entre-acto es un proyecto de autorretrato. Consistió en realizar una video-performance que se presenta como instalación, en la que la cámara se encuentra amarrada a mi brazo y es a tráves del visor que controlo la acción. Ésta se trata de avanzar con los brazos por una escalera horizontal. Sujetar /soltarse para poderse volver a sujetarse. Acción y contra-acción. Alude a los entreactos de la pieza teatral, pausas ‘vacías’ en cuanto a representación, pero imprescindibles por su funcionalidad, sin las que la pieza teatral no podría continuar.

De este modo, Intervalo como entre-acto intenta reflejar un espacio y tiempo intermedio que son condición de posibilidad para la representación misma, y que usualmente, no forma parte de ella.

Este video fue producido en el marco de la edición del libro OFF THE RECORD / Representacions frontereres de la memòria històrica de les dones, y fue presentado como una video-instalación en Hipocampo 2 (Barcelona) y Rusia Galería (Tucumán, Argentina).


Esquema de la video instalación



(ENGLISH BELOW)
Colaboración con Annegien van Doorn
Postproducción de audio: One Man Nation

Durante el verano del 2008 Annegien y Verónica vivieron en un piso compartido en el centro de Barcelona. El piso estaba amoblado con las pertenencias de su primer propietario, una mujer mayor. En septiembre, el contrato estaba por finalizar y el dueño no quería renovarlo, entonces la agencia inmobiliaria les obligó a regresar todos los objetos y muebles al lugar que señalaba el inventario del piso. De no ser así, no les devolverían el dinero de la garantía. El inventario describía obsesivamente cada objeto de la casa: “imagen del Papa actual”; a veces su condición: “una botella de licor (medio llena)”; hasta incluso su lugar en la habitación: “el mando del aire acondicionado está encima de ...” Ninguno de los que vivía en el piso en el 2008 lo conoció con su aspecto inicial. El contrato y el inventario se habían firmado en el 2001. Bajo estas circunstancias empezaron a reconstruir las habitaciones del piso en su marco original, siete años después, a través de la interpretación del inventario.  El montaje de esta videoinstalación consiste en un video loop (7’29’’) y 2 pistas de audio también en loop (16’33’’) que funcionan independientemente de la imagen.

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Inventario piso Carrer Banys Nous 15 3° 2ª, Barcelona Video loop 7'29'', 2 independent audio tracks 16'33''

A collaboration with Annegien van Doorn
 Audio postproduction: One Man Nation

The starting point of this video installation is the inventory list of an apartment where we used to live. After the lease expired, the real state agency hired by the owner forced us to return all the objects and furniture in the same place as it once described in the list. None of the current residents lived there at the moment tha contract started, so we re-constructed the house in its original setting, seven years later, by interpreting the inventory list we got.

 (Translation of the inventory list)

Inventory 15th Banys Nous Street, Barcelona
Dining room: *From the right to the left. Right wall: 4 decoration plates. Front wall: 2 decoration plates (flower shaped) + 1 plate. Left wall: 4 plates. Above the door: 1 painting of Lord's Supper. Furnishing: -1 Round table with diamond-shaped covering. -6 Wooden chairs with light auburn leather covering. -1 Sideboard with 5 doors and 4 drawers. Drawers: - 2 Dinner-services of 6 pieces (1 in blue and another in plastic with flower motives). -Tablecloths of foam. - Plastic cutlery tray with two openers, 10 chequered coasters, 6 table-mats, 5 coasters. Sideboards: - Right cabinet: 7 deep plates, 6 flat plates, 2 large trays, 1 salad bowl, 1 vase, 1 crystal bottle, 1 tureen, 2 small trays, 1 water can. - Central cabinet: 1 crystal fruit bowl, 1 ceramic fruit bowl with a central glaze, 6 dessert plates, 1 big plate of the same group, 3 coffee cups. - Left cabinet: nothing. - On top of the cabinet: 2 candle-shaped lamps with 6 arms, 1 doll (girls with basket of flowers), 1 alabaster ashtray, 1 fruit bowl (3 leaves gathered by a bird). -Wooden piece of furniture; under it there is a flowerpot with a plant, on top of it is a decorative table cloth with a wooden plate. -3 Piece suite: 5 round cushions with oriental motives, 1 blue with central stiching, 1 light green with 6 Chinese young persons, 1 rose with floral motives, 1 light blue with floral motives, 1 in the colour sepia with drawings of a bird. -Large lamp with a lamp shade and light bulb. -Cocktail bar: 6 glasses with cases of plastic with silkscreen prints of brands of alcoholic beverages, 3 bottles of liquors (half full). On top of the bar: flowerpot with fake plastic plants, metallic fruit bowl. -Big metallic plate for a flowerpot (white and yellow). -Alabaster lamp and base without a lamp shade. -White curtains with light brown curtain rail. -The door that separates the dining room is lined of ember wood. TV Room: -Piece of furniture (video cupboard): 8 videos. La caballeria rusticana, J.L. Martinez Descalzo, Trujillo, Merida, El rey que no conocemos los españoles, Los personajes mas famosos de 1991, Imagenes de los juegos de la Vanguardia, Histeria C. Ruiz. -On top: 2 candlesticks and a image of the current Pope. -1 sofa: 2 pieces of dark brown covering, with a square green cushion of satin. -On top: painting of a country house, with farmer and ox. -2 Auxiliary tables of a golden metallic frame and a table-top of crystal. The air conditioner remote control is on top of it. -Wooden flowerpot with tripod with two flowerpots: 1 yellow and green, 1 normal flowerpot with the imitation of plants on it. -2 Chairs with arms of wood (a set with table and dining room chairs) uphostered in brown leather, with a white round cushion with roses, and another brown one with drawings. -Curtains. -Air conditioning: a compressor on the balcony and a diffuser inside. -On the wall: photo of the antique "Pueblo Español". Bookcase: -Right side: figures of a cow, a worm, 1 nigger playing a bass drum, a couple working with plaster, a bottle, two ashtrays with oriental motives, 1 white ceramic shoe, a Chinese couple and a banquet, 2 Chinese plates of 6cm with tripod, wooden bookends imitating a king. -Inside the case: coffee-set (coffee maker, sugar can, 6 white cups with black-green-black lines, 2 pink figures in the form of snail's shell, 2 big ice cream cups with a blue pedestal, 4 small crystal glasses with a golden line on top of it, wine glasses with a white pedestal, 6 small green glasses with motives of the Republic San Merino, 2 white long glasses with drawings in white and blue. -Bottom case: bookends in the form of a sleeping Mexican person. -Left side: 1 glass as a candlestick, 1 yellow vase with painted floral motives, figure of a white swan, 1 transparent plate with a flower in the middle and a tripod, figure of alabaster (Buddhist monk), 2 porcelain figures (women) about 18cm tall, 2 white figures (epoch xviii) about 14cm tall, Japanese vase on a wooden cart. -Drawers: 2 dinner sets. 1 of red flowers with white tops and blue white stripes. (Everything in the first drawer, in the other two nothing). -Left side: figures (Miss. shoe, flowerpot and book of 5cm tall, porcelain figure "casades", girl with a dog on top of her leg, 1 figure of a girl yawning, 1 figure of a girl looking at the clock on her chest. -Cabinet (cocktail cabinet): two yellow transparent bottles, 3 glass bottles, 3 champagne glasses, 1 blue bottle, 1 bottle of anis(full), 1 full bottle of liquor, 1 carafe of liquor from Montserrat, 1 green bottle about 15cm tall. -Lower cabinet: 1 crystal figure in the shape of a green fish, 1 crystal vase with a rose about 12cm tall. -In lower cabinet: 5 cafe au lait coffee cups with saucers. Underneath: 3 figures of camels about 6cm tall and one about 25cm tall, 3 plastic palm tees about 20cm tall. Parts of a chandelier. Mirror. -Last part: white ceramic basket with flowers, 2 plastic figures, one of boys with guitars and one of girls with wooden tambourines, 1 cat about 3cm tall, 1 case about 15cm tall, 1 vase in the colours white, red and blue, 1 tray with two blue-white frogs about 4cm tall. Last cabinet: -3 Metallic occasional tables, on one of them 1 TV ELBE of 21". -1 Light brown stool. -Chandeliers with 3 light bulbs in the lower part and 6 light bulbs in the upper part. Entrance hall: -Double wooden door with glass. (Lock and levers are in good condition). -Right wall: (lined in wood). -Meter. -Magneto thermal switch. -Meter cupboard: brush with a metallic base, entire candle, 1 key ring with different keys (of the terrace, door, mailbox, ...). -Shelf with a light green telephone from TIAL with metallic tray and notepad. Underneath: cabinet with phonebooks. -Flowerpot with an artificial plant. -Red hassock with drawings. -Armoured door -There is a window before the entrance door. -Laminated painting with a classic print of a woman from Madrid. -Floor. A used floor-cover in good condition. -In the corner: artificial plant about 1.60cm tall with white and pink flowers. Main room: *Front room -Behind door: occasional table (Hospital model), metallic white with black stripes. -White pine wood sofa, without support, with 4 cushions (a set of 3, two of them are yellow and the third one is dark blue with drawings, and a fourth cushion which is white on one side and red velvet ont the other side). -2 Small tables with iron legs. -Wall: pictures (2 colour photos of a Cathedral), 3 Egyptian parchments, 1 painting of a boat whit children. -Air conditioning: Fujitsu distribution inside, compressor in the inner courtyard. -1 Large carpet. -Curtains without rails. -1 Decorative plate with a print of two wolves looking at each other. -1 Pine wood table with two drawers. -Bookcase with two bodies. The first one with two, and the second one with three shelves. -Collection of bounded magazines: "Vosotros" and "Para ti" (1945-1954) -Different figures. -In the first bookcase there are two cabinets, one with two doors in the lower part. -In the second one there are 4 drawers and 1 cabinet of two doors in the lower part. -Wickerwork chair with a brown cushion. -Between the front room and the main room, there is a wall with a doll in the style of Luis XIV. Also there are two golden iron lights with manufactured glass. Room: -Bed, bed frame (with several positions), 2 mattresses of foam and a brown bedspread (with a tone variation towards the centre). -On top there are two silk square shaped cushions with Japanese prints (1 plant and the other one with male figures). -A light pine built-in cabinet: coat hangers, 9 small towels, bath towels, 4 guilt covers, 1 blanket, 1 bedspread for winter. -On top of the cabinet is another cabinet with 3 fans and 3 stoves. -1 Mirror. -Shelves with 29 different figures. -On top of it are more shelves with 14 figures (among them is a Japanese decorative plate). -Another cabinet with: 1 pearl glass vase, 1 shelf with a bedspread, another shelf with the air conditioning remote control and an alarm clock "Kienfle:, 15 different figures, 1 Japanese decorative plate with a tripod (figuree of the s. XV) and books (22 large ones and various pamphlets). -A set of 2 armchairs and the bed headboard is also made of wicker. -A small table with a wickerwood magazine rack. -The left wall of the room is lined in wood. Corridor. -Telephone for the automatic door. -On the wall: 3 views of San Sebastian. -An iron lamp at the ceiling. Room 2: -Floor: red floor cover. -Wall: lined in wood. -1 Cabinet: coat hangers, Japanese hat, box with clothes. -On the shelves: 6 antique figures, antique radio, iron light with globe, domino pieces, antique books (about 100) antique alarm clock. -Antique cabinet. -1 Coffee table. -Hassocks. -1 Wooden folding table. -2 Hassocks. -Antique bookcase with two speakers and an antique record player "Perpetumendas". Sewing room: -1 Wireless telephone. -1 Small electric transformer. -1 Cabinet with 2 doors and 2 drawers. -1 Small marble table. -3 Foldable metal chairs with a soft back. -Antique sewing machine with wooden cover. -1 Cabinet with 2 shelves. -1 Occasional table. -1 Small gas heater and two full gas cylinders. -1 Big aluminium ladder. -1 Piece of furniture with 2 drawers and two doors. -Ironing board. -2 Lamps fixed on the wall. -1 Wardrobe. Room next to the sewing room: -Wall lined in wood. -1 Painting of Virgin Mary an Jesus. -1 Mirror with a golden frame. -A marble standing lamp. -1 Empty four-door wardrobe with coat hangers. -Red set of furniture. -1. With 4 shelves and 2 doors. -2. Small table with drawers. -3. Chest of six drawers. -4. 2 Armchairs. -2 Standing lamps with matching shades place on each side of the sofa. -1 Orange hassock. -Coloured cushion on the floor. -1 Lamp fixed on the wall. -Chinese decoration print. -Chandelier with four arms. -Curtains. Larder: -1 Piece of furniture with 5 drawers, containing small dishtowels, papers, ... -1 Refrigerator EDESA. -White cabinet with 3 parts: -1. With 2 doors: empty. -2. With 2 doors: 2 butane gas cylinders. Shelves with cleaning products. Painting utensils, etc. Bowl in many colours, brush, antique ironing board, 1 shovel, 1 umbrella. -3. With 2 doors: -2 Decorative jars, in the middle: cotton, a small voltage transformer, small soup bowl. In the lower part: 4 shelves with boxes and dishtowels. Below there is a full blue toolbox. -Upper part: cooking utensils, 1 big pot, 1 skimmer, 1 tray, clay pots. -Below: more cooking utensils, 2 red pots, 1 saucepan, many pots, pots for crema catalana, 2 ice buckets, 10 tupperware boxes, 3 water jars, 1 blender BRAUN model 4-468 -720, 1 purple bucket, 1 metalic siphon, 1 dustpnan, broomstick, lapron. Kitchen: -1 NEWPOL 5039 washing machine. -1 Small corner table with a cup and a bottle on top. -3 Trays. -1 CORBERO CG-125E gas heater. -1 Kitchen with oven CORBERO. -1 Extractor fan. -1 small metallic kitchen table with a wooden top, there are two plants on it. -2 Wooden stools with cushions. -1 Piece of furniture with two parts: Upper part: -3 Saucepans, 4 pots, 2 water jars, 5 coffee cups, 4 cans, 4 cups (coffee and milk size) with decorative drawings, 10 coffee saucers, 8-10 small ashtrays, 8 dessert dishes, 3 soup dishes, 5 big dishes, 10 flat dishes, 7 dessert dishes, 10 flats dishes, 7 dessert dishes (various), 2 small orange trays. Lower part: -2 Salad bowls, 1 coffee pot, 1 big tupperware box. -2 Drawers: 10 small coffee spoons, 6 soup spoons, 6 forks, 6 knifes with ivory handle, 12 kitchen knifes, 1 big scissor, 1 small strainer,1 bread knife and one for jam, wooden cooking utensils, 1 opener. -1 Silver dish, 2 salad bowls, 2 big green dishers, 4 big crystal dishes, 1 stainless steel table decoration, 1 mortar, 2 oi pots, 1 cookie box, 1 electric grinder. -1 Cupboard: inside a box with electric grill, 1 aluminum strainer with a red handle, 1 antique strainer, long meat fork, hot meal display machine. Shelf with decorative figures: 2 frogs, 2 jars, ... - On the walls: 2 decorative objects, pot of species, water jars, 2 flowerpots, plastic pots. Another brown cupboard with: -Right side: shelves with decorative objects, pot of species, water jars, 2 flowerpots, plastic pots. -Left side: plastic pots, decorative objects. -There is another cupboard with sugar bowl, 8 small glasses, 5 openers, 1 nutcracker, toothpicks, 1 jar, paper napkins, 2 woods for cutting sausages, 2 bowls for bread, 1 fish shaped nakpkin ring. -Cupboard on top fo the marble: 1 big spoon, 1 pot, 2 frying spoons. -Below: 1 pot, 1 red tray, many mixers, 1 strainer, 1 meat pliers (pincers), 1 grater, 3 grills, 1 small frying pan, 1 butane gas cylinder. -1 Stainless steel sink. -Cabinet with 2 doors below: cleaning products, 1 red bucket for garbage. -Oven (inside): 3 frying pans, 2 grills, 1 wooden salt cellar. Second living room: -1 Golden clock. -1 Portrait of a child. -1 Glass case with crystal shelves. -9 Cups for cognac, water, wine, ... -1 Glass jar. -Decoration objects: 2 of porcelain, 1 turtle, 11 champagne cups, 2 crystal bottles, 1 flowerpot, 1 sugar pot, 1 souvenir from Pisa, etc. -1 Coffee pot. -Small tray. -1 Armchair with a coloured cushion. -1 3-Sit sofa with yellow cushions. -Armchair that goes along with the 3-sit sofa. -1 Corner table with oriental drawings. -Red ashtray. -1 Print of the Montjuic fountain. -1 Standing lamp with a white and red lampshade. -1 Child portrait. -1 Folding screen (7parts) with oriental drawings. -1 Painting of Plaza de España. -1 Antique piece of furniture with various parts: -1 Glass case with 2 flowerpots, 1 small jar, 1 antique radio. -Drawers: set of napkins and tablecloths, kitchen set, Chinese coffee set with 6 cups and 3 saucers. -5 Dishes. -1 Blue carpet. Room: -1 White curtain decorated with pink flowers. -1 Red carpet. -1 Antique chest of 5 drawers with tablecloth and a set of a dressing table on top. - 1 Mirror with a carved frame. - 2 Round hassocks. -1 Small table with a big wine bottle with red decoration prints. -1 Big wardrobe with many books and ornaments. There are also coat hangers. -1 Bed with wheels and two mattresses, 4 cushions (red, blue, pink, yellow), 1 bedspread, 1 pillow. -1 Small wooden table with a glass top, above it a lamp with a yellow lampshade. -Crucifix, with shelf in the lower part and various religious objects. -1 Big wardrobe with 4 doors and 3 storage cupboards. -Left side: 7 drawers, shelves with bed linen. - Central part: (2 doors): coat hangers, 1 umbrellla, 1 bedspread,... -Right side: 1 Jesus Christ. Bathroom: -Electric heater LYKE -1 Shelf with 4 towels an a decorative lamp. -1 Little door to get into the bathroom. -1 Plastic chair placed in the bathtub. -1 Bathroom carpet, 4 sponges -1 Green bath curtain. -1 Bag with different clothes. -1 White cabinet: bath utensils (scissors, creams, hairbrushes, shaving machine, ...) -1 Big mirror with three lights. -1 Crystal bottle on a shelf. -1 Electric heater UFESA placed on the ceiling.

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Estos dibujos son esquemas que intentan explicar el proceso de una piedra de sal transfiriéndose al mapa del mar de Lewis Carrol. La transferencia de la sal hacia el papel ocurre por la condiciones físicas del lugar, como la humedad y la circulación del aire. Es el señalamiento de la relación entre un elemento y su entorno, de las circunstancias y sus efectos.



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La terma

Este trabajo implicó la confrontación a un contenedor cerrado mediante la apertura y segmentación del mismo sin tener ningún conocimiento previo de sus componentes de interiores. La elección de la composición de sus partes para la construcción de la escultura refiere a los sistemas de bisagras que tienen los retablos peruanos que permiten abrir y/o cerrar sus tapas para observar su interior.

Este contenedor es presentado como metáfora de un cuerpo. Con capas, membrana, piel, límites entre el interior y el exterior. La terma posee conductos a través de los cuales pasan flujos, al igual que las personas y su experiencia de vida que en ambos casos deja constancia de su paso. Marca un lugar entre lo presente y lo ausente, lo que es y lo que fue. El contenedor abierto termina contando la historia de un cuerpo al ser expuesto.
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BUSCANDO PARIENTES...

(ENGLISH BELOW)

Colaboración con Celeste Venica.

Buscando parientes... consistió en generar una situación de intercambio en el espacio público de Manresa (Barcelona), entre un alimento originario de América -la papa- y un objeto, historia, etc., que daba cuenta del imaginario de este continente en Europa.

El material aportado por las personas que accedieron al intercambio se encuentra entre el recuerdo (a veces como idealización nostálgica u opinión de una circunstancia socio-política determinada), la confrontación con otra realidad, el estereotipo promovido por los medios o el souvenir.

Además queda, el registro del intercambio comunicacional entre personas desconocidas que compartieron una comida e historias, en la vía pública, y que tal vez nunca antes hubieran pensado relacionarse.

Colaboración con Celeste Venica.

En el blog: www.buscandoparientes.blogspot.com pueden verse vídeos del intercambio y demás material recolectado.

Este proyecto se desarrolló en el marco de Idensitat #5

-------------------------------------------------------------------------------- This project was located in the main boulevard of Manresa (Barcelona). It consisted of generating a situation of public interchange between an originally American produce –the potato-and an object, photography, story, or any other memory recipient that represented part of the imaginary of America in Europe.

The material presented by the people who participated in the interchange, oscillates among reminiscences or idealistic nostalgia, opinions of sociopolitical circumstance, the confrontation with a different reality, the stereotypes promoted by the media and souvenirs.

In addition, there is a record of the communicational interchange between strangers that shared a meal and stories in the public space; this as a result of a situation that might have not occurred in their everyday lives.

In collaboration with Celeste Venica.

More info: www.buscandoparientes.blogspot.com
This project was supported by  Idensitat #5




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This project was located in the main boulevard of Manresa (Barcelona). It consisted of generating a situation of public interchange between an originally American produce –the potato-and an object, photography, story, or any other memory recipient that represented part of the imaginary of America in Europe.<br />

The material presented by the people who participated in the interchange, oscillates among reminiscences or idealistic nostalgia, opinions of sociopolitical circumstance, the confrontation with a different reality, the stereotypes promoted by the media and souvenirs.<br />

In addition, there is a record of the communicational interchange between strangers that shared a meal and stories in the public space; this as a result of a situation that might have not occurred in their everyday lives.

In collaboration with Celeste Venica.

More info: www.buscandoparientes.blogspot.com

This project was supported by &nbsp;<a href="http://www.idensitat.net/index.php?option=com_content&amp;view=article&amp;id=587:ciutats-intervingudes-expo-cast&amp;catid=15:idcastactivitats-&amp;Itemid=95%22%20target=%22_blank" target="_blank">Idensitat #5</a><br />
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free stimate, can xalant, spain, crisis, artist in residence programme, air, evict photo P1070320-niveles-72_zps7c3732ca.jpg (ENGLISH BELOW)

Presupuesto sin compromiso

Colaboración con Álvaro Icaza

La intervención consistió en obstruir la entrada del Centro de Creación y Pensamiento Contempóraneo de Mataró <a href="http://www.canxalant.org/" target="_blank">Can Xalant</a> (Barcelona) con 5000 copias del presupuesto de su desalojo.

<i>Presupuesto sin compromiso</i> parte de  la propuesta curatorial basada en el cuento de Cortazar <i>Casa Tomada</i>‬  para la Jornada de Puertas Abiertas del centro,  en donde los habitantes de una casa son desplazados por fuerzas invisibles.

Trasladamos esta ficción al panorama artístico actual, donde la crisis económica recorta los presupuestos y alcances de las distintas instituciones del arte. ¿Son cuantificables los costos del cierre de centros de producción de arte como Can Xalant?

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Free estimate

The intervention consisted of blocking the entrance to the Centre for Creation and Contemporary Thought Can Xalant Mataró (Barcelona) with 5000 copies of the center’s eviction notice.

Presupuesto sin compromiso was created after a curatorial proposal based on "Casa Tomada" by Julio Cortazar, for the Open Doors Day at the center. In the short story, the residents of a home are displaced by invisible forces.

We translated this fiction into the art scenario, where the current economic crisis cuts down the budgets and capacities of various art institutions. Are the closing of centers of production such as Can Xalant quantifiable?

In collaboration with Álvaro Icaza


free stimate, can xalant, spain, crisis, artist in residence programme, air, evict photo papelesnocheflash72_zps8d55f042.jpg

(...)
No nos mirábamos siquiera. Apreté el brazo de Irene y la hice correr conmigo hasta la puerta cancel, sin volvernos hacia atrás. Los ruidos se oían más fuertes pero siempre sordos, a espaldas nuestras. Cerré de un golpe la cancelé y nos quedamos en el zaguán. Ahora no se oía nada.
- Han tomado esta parte - dijo Irene. El tejido le colgaba de las manos y las hebras iban hasta la cancel y se perdían debajo. Cuando vio que los ovillos habían quedado del otro lado, soltó el tejido sin mirarlo.
-¿Tuviste tiempo de traer alguna cosa? - le pregunté inútilmente.
- No, nada.
Estábamos con lo puesto. Me acordé de los quince mil pesos en el armario de mi dormitorio. Ya era tarde ahora.
Como me quedaba el reloj pulsera, vi que eran las once de la noche. Rodeé con mi brazo la cintura de Irene (yo creo que ella estaba llorando) y salimos a la calle. Antes de alejarnos tuve lástima, cerré bien la puerta de entrada y tiré la llave a la alcantarilla. No fuese que algún pobre diablo se le ocurriera robar y se metiera en la casa, a esa hora y con la casa tomada.

Casa tomada, Julio Cortázar

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(...)
We didn't wait to look at one another. I took Irene's arm and forced her to run with me to the wrought-iron door, not waiting to look back. You could hear the noises, still muffled but louder, just behind us. I slammed the grating and we stopped in the vestibule. Now there was nothing to be heard.
- They've taken over our section - Irene said. The knitting had reeled off from her hands and the yarn ran back toward the door and disappeared un der it. When she saw that the balls of yarn were on the other side, she dropped the knitting without looking at it.
- Did you have time to bring anything?- I asked hopelessly.
- No, nothing
We had what we had on. I remembered fifteen thousand pesos in the wardrobe in my bedroom.
Too late now.
I still had my wristwatch on and saw that it was 11 P.M..  I took Irene around the waist (I think she was crying) and that was how we went into the street. Before we left, I felt terrible; I locked the front door up tight and tossed the key down the sewer. It wouldn't do to have some poor devil decide to go in and rob the house, at that hour and  with the house taken over.

House taken over, Julio Cortázar. (Translation by Paul Balckburn)


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Photobucket Photobucket Photobucket Photobucket Photobucket Carrocerías Moraveco


Photobucket

Photobucket

(Work in progress)

Serie de collages con fotos tomadas desde un vehículo en movimiento. Una especie de road movie narrado a partir de discontinuidades, de flujos entrecruzados. Descomponer el movimiento, la idea de persistencia retiniana, a partir de la introducción de fragmentos que no corresponden a la secuencia. Por otro lado, las fotografías son señalamientos de un reencuentro (y a la vez desencuentro) fugaz con un territorio y su construcción en el recuerdo.

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Collage series made of photographs taken from a vehicle in movement. A kind of road movie made of discontinuous images and crossed fluxes. An intend to decompose movement and the idea of persistence of vision, through the introduction of fragments that don't belong to the sequence.

On the other hand, the photographs marks a brief encounter (at the same disencounter) with a territory and their construction in the memories.

Solicitud al paso

El día jueves 1 de mayo del 2008, con motivo del día del trabajo, nos instalamos en la plaza de San Josep Oriol (BCN) para imprimir sobre las camisetas de quienes lo deseen, la solicitud de permiso de trabajo para extranjeros (EX-01). Participaron Álvaro Icaza, Melissa Ortega, Carolina Rieckhoff, Annegien van Doorn y Antonio Felices.


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Photobucket
EX 01

 Free screen printing form (EX-01) for temporary residence and work in Spain. Thursday, 1 May 2008, Plaza Josep Oriol, Barcelona. In collaboration with Álvaro Icaza, Melissa Ortega, Carolina Rieckhoff, Annegien van Doorn and Antonio Felices.

El mapa de Mikel o Spanish souvenir
Edición de postales

 Este dibujo surge de una conversación entre un extranjero y una persona de origen vasco. En un primer momento se trataba de explicar tan sólo la geografía de España, pero derivó en una apreciación geopolítica: una visión subjetiva del territorio; de las relaciones y conflictos entre las comunidades que integran un país.

  el mapa de mikel


El mapa de Mikel o Spanish souvenir
Postcard edition

This drawing was made during a conversation with a person born in the Basque Coun¬try. In the beginning of the conversation, he tried to explain only the geography of Spain, but he couldn’t help doing a geopolitical interpretation: a subjective point of view of the territory; of the relations and conflicts between the communities that integrate this country.


Bed grown to the heat parte de la estructura de una cama que fue cortada y reemsamblada arbitrariamente con bisagras, con el único fin que todas sus partes pudieran constituir un único plano. De este modo la tridimensionalidad del objeto (la oposición interior-exterior) desaparece. La estructura es ahora completamente articulable y puede tomar diferentes posiciones. Utilizando unos de los pocos objetos (calefacción) existentes en la galería que aún nos recuerda que no es un espacio absolutamente neutro; realizo una intervención que intenta parasitar este espacio. No pudiendo desligarme de la carga del objeto cama, la intervención hace referencia a un refugio precario.


bed grown to the heat

In this work, the structure of a bed was dismantled and assembled with window hinges in an arbitrary way, with the only purpouse that it becomes a flat surface. By doing this, the limit between interior and exterior dissapears and the structure is flexible and can take different positions. In the gallery the bed structure takes place next to the heater, the only object that is not yet part of the white cube. Like a homeless in the city, "Bed grown to the heat” parasitizes the space of the gallery.


Apuntes para un texto frankenstein

Braindead o la Muerte del Autor

Parto de una condición. Física, para empezar. Una respuesta equivocada del sistema inmunológico empieza un desbarajuste químico sin pies ni cabeza. La histamina me invade. Imposible pensar, mi cuerpo acapara el panorama, me invalida y me saca de contexto. El reclamo se difunde por la sangre. Poco a poco, Cuerpo empezará la reconquista y expansión del espacio que ocupo.

My body is a battleground too

Aparece por los pliegues de la piel. Ahí donde un hueso acaba para empezar otro, donde los músculos hacen un límite. O por las partes de las que ya no te acuerdas. Detrás de las rodillas, a la vuelta del codo, entre cuello y nuca, a través del canal del oído, en la superficie del ojo…

Por ese momento, ellos, el último escalón de la jerarquía corporal, en sus márgenes, constituyen el Lugar Conceptual del Desfase.

El margen es, sobretodo, un término de referencia: el límite de un campo de significado más allá del cual se sitúa lo que todavía no pertenece a una definición, porque no se puede o no se quiere incluir en ella. (P. Cottino)

Cabeza de negro

Pintura parte de la colección del MNAC. “El retrato de las minorías” comenta el museo en el catálogo educativo, con una delicadeza que contrasta con lo crudo de su representación y del montaje de la sala llena de retratos, todos ellos frontales. Identidad, unión de “ídem” y “entitas” resuena imposible. No nos mira o no nos puede mirar, no vemos su cara completa, lo hemos convertimos en cabeza.

In trying to became “objective”, Western culture made “objects” of things and people when it distanced itself from them, thereby losing “touch” with them. This dichotomy is the root of all violence. (G. Anzaldúa)

Las miradas blancas, las únicas verdaderas, me disecan. Soy mirado de hito en hito, estoy amarrado, clavado.
(F. Fanon)

Ahora estamos sobre su espalda.

El Otro Yo

Rojo inflamado, me desconozco frente a un espejo. Me desproporcioné. La del reflejo es Otra. El antihistamínico no hace efecto. Dificultad para respirar, sudor frío, desvaríos. La lengua me estorba.

Deslenguadas. Somos las del español deficiente. We are your linguistic nightmare, your linguistic aberration, your linguistic mestizaje, the subject of your burla. Because we speak with tongues of fire we are culturally crucified. Racially, culturally and linguistically somos huérfanos –we speak an orphan tongue. (G. Anzaldúa)

Sala de espera

Limbo donde todos sabemos que nos ha traído Cuerpo. A cada uno, a su manera secreta. Me miran los miro me esquivan. Jugaremos un buen rato.

No tengo ninguna posibilidad. Estoy sobre-determinado desde el exterior. (F. Fanon)

¿Podríamos hacer algo mejor? En la sala de espera: te aguantas. Si la paciencia fuera un órgano sería el equivalente a mi estomágo.

Memoria de Cuerpo / Si pestañeas, pierdes

Con el tiempo fui capaz de anticiparme a las situaciones, a reconocer los síntomas desde una distancia, a vérmelas con mi vulnerabilidad. Estar al acecho es una condición del que no se imagina conjugar los verbos en futuro perfecto.

La facultad is the capacity to see in surface phenomena the meaning of deeper realities, to see the deep structure below the surface. It is an instant of “sensing”, a quick perception arrived at without reasoning. When we are against the wall, when we have all sorts of oppressions coming to us, we are forced to develop this faculty so that we’ll know when the next person is going to slap us or lock us away. We’ll sense the rapist even when hes five blocks down the street. Pain makes us acutely anxious to avoid more of it, so we hone that radar.

Entre lo que sería el “cuerpo vibrátil” de Rolnik y el “devenir animal” de Deleuze, Anzaldúa plantea este concepto como parte de una memoria aprehendida en el cuerpo a partir del miedo, una estrategia de supervivencia. Esa manera de darle la vuelta a la percepción, dejándonos afectar por eso otro que emana su presencia, desde una posición espacial a intenciones / deseos, nos revela una cara silenciada, otra construcción.

No puedo dejar de recordar un viaje de ayahuasca, la planta hecha serpiente se apoderó de mí, creció del centro, de la boca del estómago hacia los bordes, manos pies dedos uñas. Hervía por mi garganta hasta salirse por el aliento. Ví, que todo estaba hecho con un diseño, líneas y puntos en pantone de fiesta, la otra piel viva de las cosas, naciendo y muriendo a la vez, nunca quieta.

The sea cannot be fenced El mar does not stop at borders .

(G. Anzaldúa)

Movimiento, flujo, distancia, viaje, trayecto inacabado. El momento-espacio entre los lugares, antes de llegar y después de partir. Nepantla, se traduce como “in between”, es la referencia nahuatl para vivir sin fronteras, en los cruces de camino. Para reivindicarme como amasamiento, como atravesada.

mouthpiece




Intervenimos el video de No me quitte pa, interpretado en vivo por Jaques Brel, suprimiendo el audio del mismo. Enfocándonos en el gesto de la boca de Brel, este queda como único vestigio significante de un texto y melodía silenciados. Lo que era antes lo complementario en la comunicación, se convierte en la base de la misma. La música a partir de su carácter performativo. El discurso es ahora el gesto.

Colaboración con Álvaro Icaza.

wish i were like you


wish i were like you

But what exactly is simulation? Gilles Deleuze has distinguished the simulacrum from the copy in two ways: the copy is "endowed with resemblance", whereas the simulacrum need not to be; and the copy produces the model as the original, whereas the simulacrum "calls into question the very notion of the copy and the model."

(Hal Foster, The return of the real)


 A través, es una vídeo performance donde la cámara hace un recorrido y deja una marca. La línea que divide el cuerpo metaforiza la relación entre el lenguaje y la realidad. La delimitación y categorización por parte del lenguaje hacia lo real, y los reajustes de éste sobre el lenguaje, ponen en evidencia la "exigencia de lo fragmentario que se ofrece ahí, sin embargo, esquivándose, como juego de los límites, juego que aún no está en relación con limitación alguna." [Maurice Blanchot, El paso (no) más allá.] ----------------------------------------------------------------------------

 A través, is a video-performance where the camara leaves a trace. The line that divides the body works as a metaphor of the relation between language and the real. Delimitation and categorization exert by the language over the real, and the re-adjustments of this one over the language, stress the "demand of the fragmentary: play of limits in which no limitation plays; the fragmentary, a dissociation of limit and limitation" [Maurice Blanchot, The Step Not Beyond.]