The Art Magazine June 2020 | Page 111

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15

Hello Alejandro and Hugo, and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?

So well, we are thinking "communication and identity" in other way and since a simple ask about of the existence of the human being, in other words, the anthropological meaning that respond: What is man? Who is and what purpose have its existence? Why exist? How to diffenrence the human being? Who are we? What is the real purpose of our existence as human especie in this planet into universe? We exist really?

In ancient time, this primordial experience was the beginning for the myth of man and the human cosmologie. Actually is impossible to define the human being across the difference (identity) or the repetition (communication) as ontological concepts. The communication in relationship with the identity is an inusual prospect in the social and cultural design of the contemporary era where inmersive configuration inside of the social networks can redifine our existence and experience in terms of informatic telepresence.

All our art projects are a fragment of life, a single reflect, a singular indication or trace of the human being. The experience of live, of existence, is the principal question for our aesthetic formulation. In fact, our work does´nt an aesthetic representention of the phenomenical world, is the aesthetic of inmanence, the act of presence of the human being and its own construction of cosmos. Even so, the aesthetic (aísthêsis) as experience, comprehension and knowledge, have been existed like a configuration of the human space and time (imago mundi). In each of one its cultural substratum, we can evidence the existence of stellar dust and shadows of light projected beyond the thresholds of the paleolitic man. In the same way, artists or astrophysics wonders about the origin of the humanity and cosmos.

Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?

No exist a big difference between to living and to do it art, neither a dialectical structure for mark off a real frontier across art and life. Everything is connected and entangled. For us the art is an experience of life and the medium that can help us to understand and learn how living every day. Our works grow up from practice of live and experience of life, when we can thinking about in drawing and walking or eating: art and life build their own path. Each of the manifestations of art shows a higher consciousness and any emanation of life is pure creation. Thus, any artist is aware of his creative act.

The social theory of art could be to apply in this sense and extenssion into contemporary world to offer a response on what role art plays in our present postmodern society, where the artist is seen as outsider, in perspective to the social entertainment function in the cultural industry and symbol of status and prestige as the huge speculator of the auction price into international art market. So, what art teach us to live?

Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?

We have a remarkable interest and great influence by the paleontological studies of the prehistoric art by André-Leroi Gourhan, who studied and catalogued during decades its great capacity of creation, its simplicity and abstraction through signs and symbols, their power of connection and synthesis is enigmatic and full of energy and so their personal encounter with those vestiges and spiritual images of the human being in comparade perspective with the contemporary man. How is possible identify us with these manifestations of the archaic man? Awesome! Therefore are like a distant stars that we can see and that have died long time ago.

Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.

Everything our artwork is a blurred trace of images reflecting the immanence of the world. Even so, with them we wish to capture a single instant of empathy: always intangible, ephemeral, changeable and eternal. A gesture poetic of the instants, the silences and their memories.

What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?

The plastic thinking and his material creation are artisc practices, no tendences. We can reflexion on a philosofical sentence by Guiles Delleuze that said: "Everything act of creation is an act of resistance". Thought and action have been, since long time ago, memory and technique.

philsophers as well as poets or musicians or dancers or visual artists but also by some places or landscapes or atmospheres ... For some years, I was used for example to go to India where I was used to follow some traditionnal muscians or to learn bharatanatyam and practice vipassana meditation... Of course this experience has impacted my art work.... This brought me to think and work differently... My experience in India brought me to discover traditionnal strong art and paradoxally to the way of Performance Art. But there I see one common point: to make no separation between art and life and to be here and now, without projection on the future.

It's difficult for me to speak about race and ethnic identity. But I can say that today we miss more and more this notion of “to be here and now” which is more present in some cultures ... By practising Performance Art, it's my way to be connected to this way of thinking. And even in this field actually it's more and more difficult. The society and the art world brings us more and more to plan in advance, to define our work, more than to do. Just to do. To do what we deeply need.

And of course, my encountering with Black Market International and later the notion of Open Source or Open session via PAErsche have also a big impact on my work. When we go on that, each of us perform by sharing time and space but without trying to convince each other on some common way. This is for me a wonderfull way how we can meet each other, regardless of our origin, our race or our “identity”...

Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.

My memory is clearly a starting point to create. I don't have any autobiographical message. I use my personnal experience ( what I feel , what I see, what I learn, what I ear...) to work. It's a motor or a material. I'm not able to paint, so I can't do something with red or white or yellow or black colors. All I have is life, a body alive. And I need to do something with that...

My sensation about life sometimes is too intense then I need to transform this intensity in some action. Some artistic action... If people can take something from this action this is great... but I don't want to give them “a specific message” or to control the translation of my experience.