11.680 Days

 

 

The narrative of this installation points out a gesture of change. Any gesture performs change, interrupts the inactivity. Movements of change, even if necessary, will always be radical and mean rupture, separation, yet, inherent to life. 

 

Here the selection of works accentuates a movement of change of residence, removing what was already marked on the ground of tradition and history, movement that abandons its location in order to be reinstated and rehoused. Complex aspects that relativize personal thoughts and chronology converted to a poetical contribution to an artistic narrative. It is not about addressing an external view of a certain action, but to truly experience the subject addressed and performed in a journey of thirty-two years of identity construction. This is how man establishes his place: filled with himself. Upon such convergence, now a shade, this selection reflects on a historical and temporal displacement, taking the viewer to this aura so he can be familiar with the written part, the tattoo on a paper sheet made of its emotions with elaborated signification. 

 

It is in the writing that the internal sedimentation of this emotional body is organized; write to read, to know and to believe. But in the selection’s displacement they are resignified readings: from them the narrative is displaced by new readers, but not the narrator, in which the marks were inlaid. Interpretations of signs/symbols along the thirty two years or 11.680 days in an intimate way, in diaries [appointment books], now exhibited viscerally. 

They are feminine diaries, motherly diaries, work diaries, life condensed by the exercise of writing. A writing that pales on the paper, over the parchment whose tonality, internally, is not wasted with each revisit. Each area visually infiltrated on the pages has also permeated the architectonic space and its own skin. 

 

At the same time they are fragments which, though incorporated in an intimistic way, are related with the whole, once the movement of displacement is common to human nature. It is a conceptual contingent that when performed over the formalizations of an installation that plead to dialogue with other intimacies, building up alliances for a thinking through many sensitive fields.

Every mother who in an specular way identifies herself with any fragment, every working woman, wife, or visitor, regardless of gender, will become part of the cartographic picture that this selection represents in the artist own skin, and in a cloak of generalized skin. Lines written as part of a large skin texture, gathering so many other people who inhabit and uninhabit spaces, which transmute physical and psychical spaces in the pursuit of coziness in the place where to live. 

In this selection, installation, it is also possible to come across with the fable of their own experience through the ethereal and ephemeral reading in an open work. All of them will be as new constituent parts of a body unit that no longer only belongs to the artist but to a whole that makes up a larger volume coated with a social fabric, for sums of crossing contingents of identities and journeys that are identified but not written there. 

 

This is a characteristic of art: it only exists if active before an interlocutor. What follows is a narrative calling for a dialogue attempting to negotiate and reorganize a collective memory. A video presents itself in the installation selection as an image segment of this occupation. This video, flanked by a set of appointment books with small tracks of this personal discourse, as reliquaries open to the interpretation subjective field of everybody. The selection carried out on the topographically visible themes of appointment books in storage boxes, as a body of all the narrated stories, is not the same as images that immediately deliver the most sensitive imaging field. Instead, they are like whispers discussed in an intimate way as it is the whole content, generating this relative complicity and before such intimate gesture I imagine how the sharing and the arrival to other appointment books also filled with intimate gestures will take place and will be conceptually grouped as a major issue of inexhaustible poetic. 

 

To reexamine 11.680 days is to reexamine uncountable encounters, uncountable emotions in uniqueness and plurality, uncountable faces and expressions that the artist has considered and which were considered for her, an installation selection that approaches the emotional incommensurability that we are, on the binomial time-space. Every time the artist exhibits some work, a part of herself, of her inner home and living is gifted to the other and every time the interlocutor minds this, the same emotional dimension is given in return. These are exchanges aggregated to our body.

 

Sidney Philocreon

Visual Artist

junho 2015