The Art Magazine June 2020 | Page 112

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14

How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?

We see this relationship in terms of aesthetic cognition, like a possible abstraction and manifestation between limbic resonance and a particular proxemica.

Before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?

Precisly is the same relation referencied before, however we can add that there are reciprocal relations of different types between the spectator and the work, the work and the space, and the space and the spectator, when it comes to immersive artistic practices, such as installations, environments, performances, site specifics or process works, where the public can to play a specific role in part of their configuration. For exemple, in our art project "Thresholds", we explore the poetic of the ephemeral since the museographic space when evaluating its negative condition like a non site. This project is an installation artwork that includes drawing, clay sculpture and other media, conceived as an integrated process for "in situ" interventions at different showrooms of museums from Colombia. Each of them, has been determined by the architectonic space interacting like a multidimensional surface opened for the development and configuration of autonomous and independent installations, feeding and redefining its global process of art production, always under construction. "Thresholds" has focused special attention on the body of the artist and their individual trace, according to the anthropological action that has produced signs, markings or traces in space and time of his works. This is how the artists have based their high value of mediators for a random and permanent dialogue among the most primitive human actions and the own meaning of contemporary art in terms of cultural deciphering. Something like a dynamic and temporal image to cross the millenary border that exist between us and the understanding limited of the origin of human being.

Thanks a lot for your time and for sharing your thoughts, Alejandro and Hugo. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?

We do not know certainly, all our projects have implicated long processes of configuration and high costs of production. We need so much space and time for experiment itself the "not to do". In this way, each artwork is a big hush.

It was a pleasure and thanks very much indeed for your interview and invitation.

de-identify myself, by losing my roots, my culture, I would be very happy. Unfortunately the human being does'nt choose the place where he is born. He grows up in a society that automatically identifies, through education, culture, family... More than ever I think it's more important to go on a way of self-knowledge with the aim to meet “the other”.. This other without which we can not exist. It's the same for the artist. It is more important for me to be focused on my practice than to try to define it according to esthetic criteria of identification. It's probably the reason i like to remember the painter Matisse who said or wrote that an artist must never be prisoner of himself, prisoner of a style, prisoner of a reputation.

Would you like to tell us something about your background? Could you talk a little about experiences that has influence the way you currently relate yourself to your artworks?

All my way is influenced by encounterings.

It began by the meeting with my professor of literature at school. More than giving French or Literature classes, she brought us to discover texts, movies, plays, visual artworks and to think about on what we saw or read.. Thanks to her that I met Pierre Vincke, a theatredirector who was worjink in the tradition of Grotowski ... Both of them have led me to go to theater school. In this school I had meetings. Meetings with artists but also and especially human beings that made me discover. I always need o discover rather than to master a practice. It's probably the reason my encounter with Monica Klingler and Boris Nieslony was decisive for me and led me on the path of Performance Art which is a form still difficult to define. Each performance artist has a different definition of what it is...

Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?

No I don't have a specific artwork that has influenced my artistic practise but many.

I'm influenced by some 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.