Routine turned into an exercise in interpretation. Urban installation. Fragment. Irreversible Project
WORKS WITHOUT SYSTEM
Urban space as a context highlights the disagreement about the very data of the objects and spectators immersed in the aesthetic situation, and raises questions about the ways of their inclusion. While the works produced in spaces dedicated to art itself, such as galleries, cultural centres, etc.; They underline how subjects are capable of arguing fractures or differences in sensibilities, highlighting other modes of disagreement, which underline hierarchies between the information and opinion that is shared and that which is exclusive and excluding…
The relationship between the aesthetic and the political in urban spaces is manifested by giving visibility to disagreement, not only in the sense of the conflict of interests and aspirations that may exist between different social groups, hegemonic and subaltern, but also as differences in sensitivity.
In this sense, I have been interested in the intersection between cultural productions animated by different objectives, where the relationship between different results arises as a response to the overlapping of economic, political, media, tourist and aesthetic uses simultaneously, directing the attention of the public and
constituting new forms of social heritage; and where those behind it are not artists directly, but architects who modernize cities, advertising creatives, political propaganda designers, and in general workers of the system who are usually seen as reproducers of common sense and dominant strategies.
In these spaces, the purely aesthetic experience seeks to go beyond redesigning common sites, to have spectators turn their perception towards something other than domination. This is how in 2009 I began to carry out a series of interventions entitled: "WORKS WITHOUT SYSTEM", which functioned as part of these crossed expressions, using spaces oriented to place advertising, dedicated to the specific consumption of the image.
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HOT AND TWISTED
Intervention. From the series: Works without system
Vinyl cut text on cabin. San Lorenzo Beach, Gijón, Asturias. 2010
SECURITY
Intervention. From the series: Works without a system
Digital printing on paper.
Parking, Playa Poniente, Gijón, Asturias, Spain 2009
Starting from the forms of stylization of the dissemination of the advertising image in the capitalist world, I made paper prints of a series of photos of some collages that I had made in 2006 while in Cuba, in which I combined clippings from a book on human anatomy - (fragments of the human body dissected in order to study its functioning) -, which I combined with paint, latex casts and other objects taken from reality. At that time I was experimenting with incorporating bunches of grass, pieces of my own hair, and in fact any other light element, which without being too exempt from the cardboard I used as a support, would serve to complete an idea.
Those works resorted to fundamental questions related to the body as an instrument of mediation of sensitivity, that is, the body as a tool that conditions the perception and representation of reality.
Of most of that series of works I only had the photographic documentation, and after a few years, and after living and working in other countries, with diverse political-economic systems and cultures, I found it interesting to reproduce or reinterpret the same ideas, -(which had been generated under the influence of the Cuban socialist system)-, to put them into dialogue in other contexts where the propensity to consume and the proliferation of the advertising image, desensitized to any possibility of reflecting on the image beyond its functioning as authentic tools of the machinery capitalist.
Finally, I printed and placed in different spaces of the city, a selection of photographs as a site specific, starting precisely from the enlarged photographs of some of these collages; which I installed in different places of the city without the authorization of the City Council or of the companies organizing the advertising campaigns that occupied these supports; because I was precisely proposing to cross out certain images of diffusion of large multinationals such as McDonald's, with other content that would generate a sensory shock, in the face of the vertigo of so many elements fused to condition conduct and behavior.
INTERMEDIATE PIECES
Intervention. From the series: Works without a system
Digital printing on PVC. Calle Corrida. Gijón, Asturias, Spain. 2010
I was interested in questioning the place of art as a form of circulation of purely aesthetic content, through spaces dedicated to advertising that undoubtedly support large power structures over society, and in this sense showing it with the appearance of merchandise, although unlike advertising, the images did not refer to anything other than themselves, they were not the link to consume another product, but an end in themselves.
I was motivated to accentuate the power of the image outside the conventional contexts of its consumption as a work of art, that is, to show them under the appearance of merchandise that did not directly correspond to a merchandise. And in this sense, developing an idea of the ephemeral from spaces designed to be changing, within what is understood from the social sector as new configurations of heritage that constitute established forms of domination.
On the other hand, the fact of inserting them among other elements of daily life and other logics that for various reasons contrasted with the indeterminacy of concrete functions of the images, taking into account their homogenization with the appearance of advertising, but without an exact objective, sponsored their own ways of inhabiting the world and the possibility of not being reduced to circulating in a place and in a specific way.
Later, the need arose to involve and capture the processes of the works as part of the works themselves, generating structures specifically for the placement of the images, which took as a reference the aesthetics of these advertising media. This is how projects such as Irreversible, The anonymous montage of hate, among others, emerged.
