WRITING AS AN OBJECT
NEITHER TOO WOLF NOR TOO LITTLE RED RIDING HOOD
Within the framework of this project, the installation of 800 packets of soda crackers was based on the idea of exhausting this material; of generating as many combinations of signs by mixing crackers with other elements, so that the resulting objects could function as words for a text, losing relevance as independent structures to accentuate the multiplicity of possible relationships between them, and pointing to the spectator as the container of the meanings that could adhere to these relationships.
The work as such did not intend to signify but to generate a scheme of possibilities, where a large number of crackers would function as an amalgam to connect diverse objects, selected in a more or less arbitrary way from everyday life.
It is a work that comments on how the symbolic structures that can be attached to a work of art belong more to the spectator than to the artist; and about how in current art we are conditioned by a sum of significant elements that result in a specific content or theme.
NI MUY LOBO NI MUY CAPERUCITA presented an anomalous and disturbing relationship, given the great variety of objects swallowed by this “mass of food”, where despite the presence of signifiers and meanings, it was not possible to define a precise discourse, beyond a set of structures presented as a great abstraction.
NEITHER TOO WOLF NOR TOO RED RIDING HOODInstallation. From the series: Writing as an object
800 packets of soda crackers, wrappers and random objects, Havana, Cuba. 2005
THE SIMILARITY BETWEEN WASTING TIME AND CONSIDERING IT AS NOT WASTED
Intervention. From the series: Writing as an object.
Graffiti on the stairs of the José Martí National Library.
Havana, Cuba 2003
THE SIMILARITY BETWEEN WASTING TIME AND CONSIDERING IT AS NOT WASTED is the title of this intervention at the José Martí National Library, carried out as part of the CIRCUIT CLOSED project, a collateral exhibition to the VIII Havana Biennial. (2003)
THE SIMILARITY... is a record of thoughts that, through the written word, were taken to the dimension of a real space, in this case the stairs of the National Library. The procedural nature of the work, developed in an area that turned out to be a transit space - the stairs that connect the three floors and the basement of the building - became a performative action when interacting with the public of the library, forcing the conversation to the reading of my answers to their questions, which I was answering directly with charcoal on the wall.
The text was covering the forms of the architecture during the assembly process of the Circuito Cerrado exhibition project, which was developed around the work. Interacting also with the interventions made by other artists in the different rooms, and remaining in the form of a real-time record of all the surrounding reality…
GHOSTS, THE OUIJA AND THE OBLIGATION OF BLACK HOLESInstallation. From the series: Writing as an object
Garbage and found objects. Variable dimensions
Salón Blanco. San Francisco de Asís.
Havana, Cuba. 2006
In order to achieve essential relationships with the object as the subject's sensibility receptor, whatever form it may take in each viewer, this project proposed to enhance the system of tensions established between the semantic content and the sensorial load attributed to the object by the viewer.
PHANTOMS, THE OUJA AND THE OBLIQUITY OF BLACK HOLES is the title of this installation that functions as a large enunciative field where abstraction and figuration converge. The sensorial characteristics that objects produce when they are in relation constitute abstract presuppositions; and the denotation of each singular object, an indicator of meanings that leads to the interpretation of the work from conceptual structures that depend on the associative tendency of each spectator.
The result is a system without end or center, in which the elements can always be mixed visually in different ways, and the relationships between them can be reversed, establishing multiple readings depending on the internal model and the emotional state of each spectator during the contemplation of the work. The installation itself aims to function as a sort of Rorschach test whose interpretative possibilities are almost infinite, although the associative elements were based on the material reality of the current Cuban cultural context (…)
This work was made entirely with garbage and found objects. And exhibited in the White Room of the San Francisco de Asís Convent, Havana, Cuba, in June 2006.