what do we talk about when we talk photography
DESCRIPTION
Iñigo Cabo essay on the image of the art project to the over-projectTRANSCRIPT
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When Art Project –Maybe– no Lies
Extinction and Discontinuity in the Art Object. Sense + Nonsense Iñigo Cabo
In this particular framework of the –Reading images: photography in the art practices– I will introduce my approach from the image of the
art project to the over-project:
From the post-anthropocentric and post-cultural research in the photographies of Lothar Baumgarten, to the post-conceptual and
post-symbolic image of Pierre Huyghe (which delves into something that –supposedly– can’t be exhausted by the discourses), through the
non-representation of the Philosopher Ray Brassier or artistic research on the arche-fossil (–prior to the existence of thought and life
experience) of Gillermo Faivovich & Nicholas Goldberg; reconsidering the notion of photography object, his documentary extension and
representational fiction, to warn other possibility, or maybe, in which the movement (displacement –motion – playing) of the Photo-object
alongside towards the liberated Art project –of the ATL, l’Association des Temps Libérés (Freed-Time Association)–: of Pierre Huyghe, Liam
Gillick, Philippe Parreno, Dominique Gonzalez-Foerster, Rirkrit Tiravanija, Carsten Höller, Maurizio Cattelan, etc.) –Open Project: Liberated
Time, liberated work, liberated Sense and Free Nonsense– drives-follows the artistic and technological image of the postproductive-
information (post-authorial images) to a non-causal and unintentional cut, exterior to the self-subject and to the social-being, produced by
the con-tact (contact –in this case the photo contact– and tact / touch. –as Jean-Luc Nancy1 says) with the non-performative Nonsense. The
Artistic Discontinuity of the object-image for the liberated rearticulation of Sense and transformation of the aesthetics negativity paradigms,
philosophical nihilism, neuro-cognitive science, the scientific image - the manifest image and the falseation of an ontological representation
that seeks to make art what is not by essence –The Art Project Image–.
I would like to introduce here, as an artist, not as a discursive act closed in its anthropological ontology of art, aesthetics and photography,
but as an approach of the art object that comprises the artistic object, the aesthetic object, the artistic project / and the image of this art
object that includes them, both cognitive, reflective, or transcendental as linguistic image, whether representational or non-representational-.
Image of the art object that can be both approached from the sense of the photo object (including the photographic object, the aesthetics of
the image and the contemporary visual project - that moves from the production of the Opsign (denominated by Deleuze as avatar of the
time-image) of the photographic object, image time and its symbolic autonomy, to the unmaterial image of the hypermedia postproduction -
and art critical sovereignty); as also being image of this art object seen from their co-presence with the nonsense of nature and external
reality to be –the presence of the image here built ontologically and called the Real, in their co-presence with another ontic - itself–, escaping
to the domain of the subjective image of specific image (stright photography), the postproductional image-archive stored in the cloud.
I mean with this exterior itself of Nonsense to all natural phenomena that affect this ontological and physical space in which we find
ourselves.
1 Nancy, Jean-Luc. Le sens du monde,Paris, Editions Galilée, 1993. www.lamarcaeditora.com 2003. pp. 52, 53.
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I would like to introduce you in this previously constructed situation observed now in this scenario, in which windows, doors, acoustics,
lighting, etc. are involved; and on the incidence of parallel activities that happen externally in the framework of this centre or happen in the
context of this conference programme (non-sense, inherent to the sense of human production) as with natural phenomena in live situations:
air, wind, weather, light, etc., (Nonsense external to the anthropological act and image); incidences of the non-sense and Nonsense related
in their co presence with the Sense, which anticipates at the same time the 1minute video clip that I will project next and that is an excerpt
from one of my latest projects - Artists Working: Discontinuity Barinatxe - carried out in the Basque Country, Spain, with the collaboration of
the german artist Lothar Baumgarten and other participating artists of different nationalities -in which the configurative discontinuity of their
filming in 16 mm and digitalisation of the video –Lothar Baumgarten: Discontinuity– [ https://vimeo.com/109271382 password: LBdis14 ]
projected on a screen and installed on the beach
Artists Working: Discontinuity Barinatxe . Open Work, collaborations. Constructed situation – Live situation. HD Video 127’. 2012 – 2013 / Ongoing project.
(LB) Discontinuity Barinatxe, Film S16 mm. 12’ / Lothar Baumgarten: Discontinuity. Video HD 12’ [Constructed situation] Art object movement (mark / øpsign) on
Barinatxe Beach (Bizkaia)– HD Video projection. Interview with Lothar Baumgarten / Questions: Nature, Representation, Technology, Art Project, Discontinuity /
+ LB improvised action. Video Screen projection (3 x 4 m.), RGB lighting system.
Collaborations, 14 artists and friends: Elena Aitzkoa, Irantzu Sanzo, Karla Tobar, Cristian Villavicencio, Leire Muñoz, Eriz Moreno, Jessica Llorente, Manu Uranga,
Josu Euba, Roke Ramos, Joseba Kortazar, Ceci Contreras, German A. Navarro. B., Cesar Rivera, Iñigo Cabo
Audiovisual installation company (2 technicians).
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and its exposure to natural phenomena such as wind from the coast (natural limits) and the night light is showed.
Artists Working: Discontinuity Barinatxe
https://vimeo.com/109482963 (password: AWDISba14)
Firstly I introduce this personal artistic object and this live situation, as an example exposed to a critical audience, from which I define, as I
said in short, different aesthetic, artistic and projectable concepts I propose to review some of the best-known works of the artists who we
will see now (photographic and projectives) as well as images generated not by artists but by users of social networks, without alleged
intentions of transforming themselves into an aesthetic object, but still images that can be used to describe different artistic paradigmatic
attitudes in contemporary projects apart from the specific photography and the post productive image, in its apparent neutrality, (remind us
artworks of P. Huyghe, the ATL, etc. or recognize aspects of artworks by Matta-Clark, Reinhard Mucha, Gabriel Orozco, Ilya Kavakov, and
iconical photographs of other authors.) and at the same time serve as object-non-sense image to be relocated in a contact project of natural
Nonsense to men and demystify the paradigm of artistic project itself (as Pipilotti Rist once said in a lecture at the Fine Arts University,
Universität der Künste, UdK Berlin: "not everything the artist does is art").
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–therefore, please, open the door and windows...– (The cold weather, wind and snow from outside enter partially in the conference room while
the video is projected) https://vimeo.com/109237197 / (homepage) www.inigocabo.com
(video: 1’ Extract of –Artists Working: Discontinuity Barinatxe– / Lothar Baumgarten speech-image-rec in natural movement)
As Gilles Deleuze has written, "a philosopher's (–artist’s–) style is his movement"
This fragment of the artistic project (2013) video - corresponding to a video-interview made to L. Baumgarten (2012) that includes his
improvised actions for this piece - exposes part of the considerations of the artist on the continuity of the sense of the art in photographic
configurative discontinuity: both of the story - sequential discontinuity fixed in image-time and in its cataloguing - images and the author
–in this case fragmentary speech–; as the composition in the filming of the images in this video and the configurative discontinuity of his
reading by the viewer as well as its possible interpretations).
Art ists Work ing: Discontinuity (final) Studio situation –projection without image–
Film, video, sound Installation. Live situation, 2012 – 2013
Lothar Baumgarten: Discont inuity. HD Video, 12’ (Left. Plasma TV) | (LB) Discontinuity Barinatxe. S-16 mm Film, 12’ (right, down)
Art ists Work ing: Crossover Atxabir ibil . HD Video, 95’ (right, up) Art ists Work ing: Discontinuity Bar inatxe. HD Video, 127’. (back wall: 6’ black shoot – blurred projection by natural light).
Industrial building, carpentry fourniture, sawdust. Indoor – Outdoor natural light (Summer time: 22: 00 h )
Video projection (night, 20: 00-22: 10 h) over the entire back wall of the industrial building (Mural-screen = width - height of space). The natural light descending on the interior space as it gets dark, allows to visualize the
scenes recorded on video-HD format for the participating artists and the footage on S16 mm from sunrise to sunset. Projection / Invisible final AW scene with summer night light on the screen. Simple reality visible of
the wall – space during the time (6') of the projection broadcasting –at the same time of shooting (22:00 -22 h. -May- DST) of the last shoot-cut filmed in S16 mm (Plan sequence focusing the video-screen installed on
the beach where the video –Lothar Baumgarten:Discontinuity–was projected. Sequential fragment registered in black –no Sound– / night reality, exposed directly to S16mm camera, denies the visual catchment to the
low sensibility –100 ASA– of the celluloid. Time is filmed). The black image –intact (Raw Footage and telecinema)– final sequence in the digital video edition, on its projection time is fogged on the screen by the "greater"
intensity of the sunset natural light (June) during that moment in the space, at the same time than the low light intensity annulled previously the filmic image. The Real (natural and technical) refuses at first its registration
and is (itself) co-presented again at the exact moment to the first denial –in another time–, blurring completely the broadcasting. That moment which can not happen before (the daylight would not allow to see practically
any of the beamed) or after (complete darkness in closest night would make visible the background of black light frames on the wall). Wall–blank screen at the bottom of the industrial unit / Ontic Presence (space, time,
phenomena, light) -Nonsense- simultaneous to the function of the technological devices of representation: beam light of the projection which traverses the entire length of the industrial unit, video playing, film course.
Discontinuity of the Natural Nonsense – phenomenical to the devices of representation and performativity / Exterior cut-interval in the Sense.
The images of the film and video filmed with daylight, keep –while projecting-, the 'continuity' of the [On - over] representation and its –configurative discontinuity–.
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First of all I refer to Sense, its inherent non-sense, and the natural exterior Nonsense in the following way:
Sense [ anthropologic, undecidable (incomplete), infinitely deferred, aesthetic negativity, configuratively discontinuous ]
non-sense [ anthropologic, inherent to Sense, factual / contingent, intentional / accidental, configurative discontinuity ]
Nonsense [ Natural, non-anthropologic, out of Sense, without Sense or its inherent non-sense, non-aesthetic,
undecidable anthropocentricaly, natural discontinuity, Art discontinuity ]
Secondly, we can define the discontinuity according to the different fields of knowledge in which it is applied:
Discontinuity (casting), An interruption in the normal physical structure or configuration of an article
Discontinuity (Geotechnical engineering) in geotechnics is a plane or surface marking a change in physical or chemical
properties in a soil or rock mass
Discontinuity (mathematics), a property of a mathematical function
Discontinuity (linguistics), a property of tree structures in theoretical linguistics
Discontinuity (Postmodernism), a conception of history as espoused by the philosopher Michel Foucault.
A break in continuity (fiction), in literature
Fracture (geology), discontinuity in rocks
Discontinuity (transmission lines), a step in impedance causing reflections
Discontinuity –configurative– (music, architecture, cinema, video, artistic disciplines, installations, performances, situations,
etc.)
And in the case of discontinuity in relation to philosophy, aesthetics and art in all its disciplines, we refer here to the configurative
discontinuity that Christoph Menke points out in his book –The sovereignty of art (from) The aesthetic experience according to Adorno and
Derrida, what would be the concept of configurative discontinuity in its two forms of incidence in the interpretive discourse of aesthetic
experience.
In short the re-reading of C. Menke about the configurative discontinuity in its two forms according to Adorno and Derrida, and relying on
other authors such as P. De Man, we can define that: Understanding that the aesthetic experience is always a negative process, that cannot
state (being afirmated) completely from the speech that interprets it (in relation to the infinitely deferred meaning, and in relation to the
absent structure that never allows this meaning to display the whole experience), Derrida points out that the cause of this negativity in the
discourse regarding the aesthetic experience resides in the relationship dashed between parts of speech that interpret it, while Adorno says
that negativity occurs between the configuration (and connection) of the parts of speech and the discontinuity of the same strategies of the
aesthetic object.
According to Derrida, if we deconstruct the speech in statements, a first statement can mention aspects of the experience of the aesthetic
object (and forget others), a second statement can refer to other aspects of the first statement that would have been forgotten, contradicting
it, and so on, forming in the speech alternative interpretations and/or contradictory to an aesthetic object.
On the other hand Adorno indicates that this difference occurs between the interpretive discourse and discontinuity that is inherent to the
same strategy of the aesthetic object. That speech interprets dissimilar objectives in the aesthetic object.
The object is then revealed in its own 'strategies' (P. De Man) as an object that, thanks to the composition of its elements and materials,
gives rise to unfinished understanding in the significant continuity of an interpretation. If in the first category of configurative discontinuity,
we face an interpretation that result in other incompatible interpretations, in the second category we face an interpretation of the strategies
of the aesthetic object in which it is rooted without power but exhausting its potential.
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This is to say that the (possible) interpretation of the aesthetic experience has both to attend to the first category of configurative
discontinuity, see interpretable parties comprising a possible aesthetic object (elements and materials that specials, deconstructed are
alternative readings independent of its formulations), as to the second category of discontinuity, since the configuration of interpretable
parties to the differences that the art object presents in its discontinuous strategies.2
I relocate this (regarding me) from the aesthetic discourse and its interpretation to the praxis of the art object, we could say that the
configurative discontinuity type 1 (technique) would be on the composition of the art object as a form, the variability that presents in its
composition and the way in which we interpret the meaning of the experience with this object by using the discontinuities related to the
differences between its parts, which taxonomy - organizational, classified and differential - integrates it and because of its attributes are
interpretable separately, the movement that each of them make in the discontinuity they produce when reading the object. The internal
discontinuity.
On the other hand, the configurative discontinuity type 2 would observe the art object as a unit with different strategies; that is to say, we
interpret this object discontinuously regarding its different movements towards the symbolic order that it wishes to configure.
A shortened summary would say that in the art object there is an internal discontinuity between its parts and an external discontinuity that
represents towards the Sense it represents, and that both act simultaneously on any object of aesthetic experience.
In relation to the video we have just seen, as well as in the rest of the works we will analyse later, the configurative discontinuity type 1:
internal or technical, is established by the formal composition of images and its experiential situation in a spatial and temporal context as
well as in devices or systems that reproduce them in front of the spectator, intervening both in systems and media as in compositional
settings and the space and time of its staging, in the configurative discontinuity which determines, from the union and connection of multiple
elements and unit factors, multiple and incomplete interpretation of the object of Sense that is represented.
In this configurative discontinuity type 1, technical-internal; involved at the same time - when exposed to the activity of the internal dynamics
of the art object-, external phenomena, transforming a configurative discontinuity anthropologically produced by human beings, in a natural
outdoor discontinuity that cuts all discontinuity or artificial no-sense, altering the intentionality and reflectivity of the self, and even
surpassing the mere phenomenological reflection. A cut-interval of the Nonsense in the production of Sense.
On the other hand, the configurative discontinuity type 2, or strategic-external; starts in this video and in the following works of other
authors, on the difference between the objectives with which a series of statements were formulated (for example those of L. Baumgarten,
caused by questions about his particular notion of universal concepts like: Culture, Nature
Lothar Baumgarten. MAKUNAIMA (RIVER-CROSSING) 2, 1979. Black-and-white photograph. s/w Print.
2 Menke, Christoph. The Sovereignty of Art. Aesthetic Negativity in Adorno and Derrida. The MIT Press, Cambridge, Massachusetts, and London, England (Or. Ed.
1998) La soberanía del arte. La experiencia estética según Adorno y Derrida. (Die Souveränität der Kunst: Äestetische Erfahrung nach Adorno und Derrida. Suhrkamp Verlag Frankfurt Am Main, 1991). Madrid. Visor. Dis S.A., Col. La balsa de la medusa. 1997. P. 138-140.
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- whose treatment is recognized in the work of Buamgarten for transcending the anthropological vision of western man on the self and its
ethnicity, as in his film and photographic work performed during his cohabitation during different years with the Amazon tribe of the
Yanomamis in-Venezuela-, rethinking the post-anthropocentrical and poststructuralist vision of Claude Levi Strauss), and the notions of
representation, technology, art project, and discontinuity –
DRAMA - Lothar Baumgarten - Thinking about Nature, Representation, Technology, Art Project and Discontinuity. Chromogenic Print. 70 x 106 cm. IC 2012
(- DRAMA: this making of photography on the stage-set of the video-film, shows both the representation itself, nature as landscape -
natural boundaries): Earth, sea, sky, the technical image, technology and their configurative discontinuities; as the relationship between the
Drama of classical tragedy, where the actors speak directly to the audience breaking the argument of fiction and in this way, showing the
artwork and its theatre as a reflective object (“keine Drama” –as Baumgarten says using the tipical sentence in German–, no drama, no
theatre, non-representation, no excess, no lies), ; this photograph is an evidence of configurative discontinuity of actors regarding the
bystanders in the image of everyday life, both the plot of the conceptual, representational, landscape and technical-technological
framework; as the difference itself between the configurative discontinuity of the image and the natural discontinuity that goes by without
being fixed in our living space, the natural discontinuity or artistic discontinuity in the space of observation).
Thus, the strategic configurative discontinuity occurs in the video that we have seen previously, based on the relationship of contents
corresponding to the artist that are handled by the settings on the images that are represented and published in a sequential, supposedly
continuous, line and pondered but constructively discontinuous, both documentary as fictional or artistically; such objectives corresponding
to a defining strategy of the author and his intention to produce Sense, constructively discontinuous in the medium-format that displace
them, as well as the strategy of Baumgarten and mine differ in terms of object of representation and in terms of aesthetic and artistic
strategy.
At the same time, any strategy considered or thought by the authors inmersed in a content and its history and historicity, is and can be
transformed into multiple and exponential strategies by successive viewers and authors that can observe original strategies, then affecting
both the configurative discontinuity that each particular interpretation on the original content-discourse and strategic discontinuity based on
infinite intentions that apply to other objects (aesthetic, artistic or projective), or the mere strategic configurative discontinuity that each
spectator applies to the original content in any subsequent intentional formulation or unconscious, that is to say, that a complete
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configurative discontinuity in the so-called performativity of the object: Art (including aesthetic discourse, art object and open art project,
Open Project and over-project (on the project and outside the project), which we will see later.
Thirdly, in terms of the conception of the universal extinction, according to the currently recognized nihilistic philosopher Ray Brassier –and
his (post)-speculative realism– that rereads the speculative materialism of Laruelle, Melissaux, Badiou and other authors; establishing the
philosophical and aesthetic object out of its reflective image to be observable as a scientific subject; that is, to go beyond correlation (and
beyond correlativism) between the empirical object and the reflexive object without falling into the new empirical dogma (empirealist in
relation with an empirical empire...); explains Brassier from scientific speculation on universal extinction:
“ Both life and mind will have to reckon with the disintegration of the ultimate horizon, when, roughly one trillion, trillion, trillion (101728) years from
now, the accelerating expansion of the universe will have disintegrated the fabric of matter itself, terminating the possibility of embodiment. Every star
in the universe will have burnt out, plunging the cosmos into a state of absolute darkness and leaving behind nothing but spent husks of collapsed
matter. All free matter, whether on planetary surfaces or in interstellar space, will have decayed, eradicating any remnants of life based in protons and
chemistry, and erasing every vestige of sentience – irrespective of its physical basis. Finally, in a state cosmologists call ‘asymptopia’, the stellar
corpses littering the empty universe will evaporate into a brief hailstorm of elementary particles. Atoms themselves will cease to exist. Only the
implacable gravitational expansion will continue, driven by the currently inexplicable force called ‘dark energy’, which will keep pushing the extinguished
universe deeper and deeper into an eternal and unfathomable blackness.” 3
According to the universal extinction predicted by science in which the recent theory of the non-philosophy is based, holding the non-
representation –the post-conceptual art, liberated, non-idiomatic and non-linguistic– of the freely improvised, liberated time and liberated
work –the works of ATL, Huyghe, etc.– (freely music, performances, constructed and live Situations) and where the situational sense-object
is built and installed in the ultimate limit of the configurative discontinuities of the object Art whose sensitive and symbolic desire to exist and
to realize the Sense production collapses at such presumed extinction of life and mind (the nothingness or Void that is beyond the infinite
deferral of Sense and aesthetic negativity); Art as ontological object-system and producer of the configurative discontinuities in the order of
Sense (and its inherent non-sense), and in its production of technical and technological image; must consider –beyond its transcendental
cognitive embodiment– the universal Nonsense, the cut-interval that the Nonsensical reality hits, exterior and undecidable to the object of
art and to the ontology of thought, readying to the Art discontinuity.
Defined at the same time by Brassier himself in his Idioms & Idiots essay, written with other authors of the freely music with whom he
interpreted non-representational music concerts, playing the electric guitar without knowing the instrument:
NONphilosophy is the theory or science of philosophy, treating philosophy as a material. NONidiomatic playing is supposed to be
able to treat all music as a material.” ‘NON’ as a prefix means that you are not part of something but dealing with it from some kind of exteriority
yet one which involves the immanence of practice rather than the transcendence of reflection. As a negative prefix, ‘NON’ also means that you are
supposed to have some kind of immanent general point of view: not from above but from within the practice of music [art] itself, the most immanent
point of view possible. It entails that you add a layer of representation such that it either subtracts the previous layer or even unifies all the layers.
(…) ‘Real’ as opposed to wholly idealised or conceptualised immanence boils down to the question of the use of theory: the real immanence evoked
by Laruelle entails a strictly disciplined practice of philosophy. Instead of exacerbating reflexivity by ascending to a metametalevel, nonphilosophy adds
a third layer of autoreflexivity that is also a minus (an a + that is a - ) – a subtraction (subtracts a layer of selfconsciousness from reflection) that
allows us to view all philosophy from a vantage point that is at once singular and universal. Mediating abstraction is concretized and unified through a
practice that, as Laruelle puts it, allows it to be ‘seen inOne’.” 4
What this non-philosophy or the NONidiomatic and supposedly non-representational and non-immaterial music or art production, presents,
is an art object (artistic subject and aesthetic object) as matter, that is, outside its physical reality or thinking in his image, including the act
of observing the art object outside the reflective or transcendental image of the subject and of the social self, and outside of the sense
aesthetic negativity.
This speculation, - that we will review at the end of this intervention with my proposal to observe the object beyond the image that builds the
mystification of the contemporary art project -; Introduce a Nonsense foreign to men (even when his supposed non-representation affects
the Nonsense as inherent in the sense, that is to say from a variable of anthropo(i)logical production), presenting as an example in parallel to
the universal extinction of the - arche-fossil-;
3 Brassier, Ray. Nihil Unbound: Enlightenment and Extinction. PALGRAVE MACMILLAN, New York, N.Y. 2007, p. 228
4 Brassier, Ray. Guionnet, Jean-Luc. Murayama, Seijiro. Mattin. Idioms and Idiots. s/p. w.m.o/r e c o r d l a b e l (May 2010)
http://www.mattin.org/recordings/IDIOMS_AND_IDIOTS.html
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explains Ray Brassier:
The French philosopher Quentin Meillassoux has recently proposed a compelling diagnosis of what is most problematic in post-Kantian philosophy’s
relationship to the natural sciences. The former founders on the enigma of the ‘arche-fossil’. A fossil is a material bearing the traces of pre-historic
life, but an ‘arche-fossil’ is a material indicating traces of ‘ancestral’ phenomena anterior even to the emergence of life. It provides the material basis
for experiments yielding estimates of ancestral phenomena – such as the radioactive isotope whose rate of decay provides an index of the age of
rock samples, or the starlight whose luminescence provides an index of the age of distant stars. Natural science produces ancestral statements, such
as that the universe is roughly 13.7 billion years old, that the earth formed roughly 4.5 billion years ago, that life developed on earth approximately
3.5 billion years ago, and that the earliest ancestors of the genus Homo emerged about 2 million years ago. Yet it is also generating an ever-
increasing number of ‘descendent’ statements, such as that the Milky Way will collide with the Andromeda galaxy in 3 billion years; that the earth will
be incinerated by the sun 4 billions years hence; that all the stars in the universe will stop shining in 100 trillion years; and that eventually, one
trillion, trillion, trillion years from now, all matter in the cosmos will disintegrate into unbound elementary particles. […]
For these (post-kantian) philosophers, it is this relation to the world – Dasein, Existence, Life – which provides the originary condition of manifestation
for all phenomena, including those ancestral phenomena featured in the statements above. Thus if the idea of a world-in-itself, of a realm of
phenomena subsisting independently of our relation to it, is intelligible at all, it can only be intelligible as something in-itself or independent ‘for-us’.
This is the reigning doxa of post-metaphysical philosophy: what is fundamental is neither a hypostasized substance nor the reified subject, but rather
the relation between un-objectifiable thinking and un-representable being, the primordial reciprocity or ‘co-propriation’ of logos and physis which at
once unites and distinguishes the terms which it relates. (…) 5
Guillermo Faivovich & Nicolás Goldberg, The Campo del Cielo Meteorites – Vol.1: El Chaco. 2006
dOCUMENTA (13) 2012, Ongoing Project.
In this picture which is employed in the artistic research of the Argentinean artists Guillermo Faivovich & Nicolas Goldeberg, we can see a
documentary photograph with the touristic purpose of the arche-fossil El Chaco, meteorite outside our galaxy that struck in Argentina before
the existence of the human beings and thoughts, a rock whose Nonsense nature escapes to the life of our conscious DNA; being its
representation, both for the Argentinean Chaco ethnic group to whom the arche-fossil has acquired a symbolic dimension, and that taking
into account other precedents of other arche-fossil meteorites that were expropriated by the U.S. Government and sent to Germany for its
dissection and analysis, implied in this case, the refusal of some groups in the region to the transfer of this arche-fossil to Documenta in
Kassel (13, in 2012) involving Faivovich & Goldberg;
5 Brassier, Ray. Nihil Unbound: Enlightenment and Extinction, PALGRAVE MACMILLAN, New York, N.Y. 2007. p. 49-52
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Guillermo Faivovich & Nicolás Goldberg, El Chaco in Kassel, 2012. dOCUMENTA (13) Catalogue.
As a configurative discontinuity Faivovich & Goldeberg represented in the annulment of the presence of the image of the arche-fossil in the
documentary photographs of the catalogue of Documenta 13, configurative cutting or interval override that represents both the negativity of
the aesthetic of the arche-fossil itself as to a form of Nonsense, un-anthropological, which may not represent its universal nature in human
consciousness nor in their courts a no-sense that is therefore inherent configurative and discontinuous; this image of absence plays the
mere artistic discontinuity, the natural discontinuity to the production of Sense and the cut-interval to the Nonsense outside the self, in its
natural phenomena, produces representational cuts on every configurative discontinuities concerning the Sense. An evidence of exterior
discontinuity of the Nonsense regarding the human representation of inherent Sense and their non-senses.
Not representable in image or voice, and whose artistic discontinuity prior to being presented, beyond time and space as human
configurative dimensions, a universal dimension whose real negativity is extinction or death of the Self, at least as we do not understand the
dynamics of power and the dark matter in the cosmos and really expanding the knowledge of the 95% left of the universe that currently
remains for us completely Nonsense (Without-sense).
In the following two photographs we can see one example of the configurative discontinuity of the photographic image itself and his frame-
format cut, as configurative discontinuity produced by nature itself, in these layers laminated in the rock of the coast in the Basque Country,
known as Flysch, which in some of its stratums preserves sediment remains of ash that covered the Earth after the impact of the comet in
the Yucatan around the late Cretaceous, causing the extinction of the dinosaurs and 95 % of biological life on the planet; debris arche-fossil
sediment remains, prior to the evolution of the human being, whose training in layers and levels projected a natural structure of evolutionary
configurative discontinuity, at the time that these formations that we now recognize and investigate joining the configurative discontinuity of
scientific research while preserving intact its essential natural discontinuity;
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Flysch Sedimentary rock layers –Stratification–, Cretaceous–Paleogene (K–Pg) extinction event (massive comet/asteroid impact, 65. 000.000 years ago –) «Arche-fossil sediments».
Atxabiribil beach, Basque Country coast. Chromogenic Print 80 x 113 cm. IC 2014
Exotic nature of representation –configurative discontinuity– within the Natural discontinuity.6
baba [ Atxabiribil beach – Flysch / Notch | Woman - Drool ] Chromogenic Print 60 x 113 cm. IC 2014
A Nonsense, configured by nature showing us the distinction between the meaning of the human representation (as we see in this
conventional picture of anthropocentric photographic portrait, which characterizes a woman posing for the camera - with its own layers and
levels of cultural stratification that represents her clothes or her makeup - and performing a characteristic gesture of the non-sense),
non-sense is inherent to our production of sense, and whether the difference in all our cultural acts of reflection - cognitive or
representational, or projection - is this transcendental or factual-, intentional or contingent; in any case configurative and representational
6 A zone that marks a boundary between different layers of the Earth, such as between the mantle and the core, and where the velocity of seismic waves changes.
Dictionary of Unfamiliar Words by Diagram Group. Diagram Visual Information Limited, 2008
12
shadows that correspond to the symbolic of the self even before the Platonic cave (like the natural cave in the picture). The difference
between any conscious or unconscious gesture of the anthropological subject regarding the natural exterior discontinuity.
This conscious representation and cultural distribution, disproportionate in terms of the concepts of force –pre subjective-, non-intentional and
preconscious– that here we refer in the no-sense of human-, that articulates Christoph Menke as a force in opposition to the capacity and function
of the human act, including empirical capacity or the artistic function; configurative discontinuity of the images with the force of a project which
aims to overcome his ventriloquism;
Pierre Huyghe. Crystal Cave, 2009. 3 dimensional photograph image: 22 1/8 x 33 in.
–In rellation with the stereoscopic image analized in this conference program / which emphasizes the fictionality of the still image–
Pierre Huyghe (in the words of Jean Baudrillard: "The strength (Force) of Huyghe's work arises by his understand ... [that] the images have
become masks of a form of universal ventriloquism."7 )– in his work Cristal Cave (2009) 3D photography taken in the P. Huyghe descent to
the crystal cave found in Naica (Chihuahua, Mexico, in the 2000 year), where Huyghe invited a team of speleologists, a farmer, a shaman, a
crystallographer and a mathematician to witness the discovery of this cave historically imagined in fiction (-Journey to the Center of the
Earth of Jules Verne, -Superman-, etc.), sedimented in the narrative and in its different mental images, being the different types of witnesses
who could interpret it, configurative discontinuously, according to their respective and particular codes, representing the levels and layers,
real (ancestral millenary strata cave –arche-fossil– and the reflective quality of the glass formations-) and symbolics (the meaning of each
agent according to the transcendental scopical-reflection of images and shadows of Plato's cave). The technical 3D production, goes over
the register "truth" of photography fictionalizing and manifesting the cognitive, figurative, and discontinuous transcendence. The image is all
level-layer photographic –conceptual, material, formal, technical, technological–, to highlight (remark –in the sense of cultural personal
marks) his call- (relate, story-telling) to a reality previously imagined by fiction and representation before the estimation of science, pointing
out “The Maybe” as possibility of art and its image in the encounter and co-participation of the Sense with the Nonsense.
Chus Martínez (Head of Departments, Documenta 13, Kassel) plays the notion -The maybe- like the possibility of experience and artistic
research to relate the production of Sense with the Nonsense, rearranging the estimation capacity (opposed to the Force notion of C. Menke
linked to the Pre-subjectivity) of science and its empirialist language (the sovereignty of the critic and empirical thought), the ontology of art
and the post-productional technology in the hypermodern era. The Maybe as possibility outside the Sense agencement, a possibility of co-
agency with the Nonsense –undecidable by the anthropocentric culture–, towards the new artistic research explores the co-participation of
the of human thought essence and experience with the natural entities of the universe, taking into account that in such possibility could exist
a non-predictable alternative, nor by the science (based on the unknown of the 95% of the universe –dark energy and dark matter–) nor by
the aesthetic.
7 Baudrillard, Jean. Pierre Huyghe “Celebration Park”. Tate Modern 2006
13
In words of Chus Martínez:
« “Maybe” reflects the fact that knowledges are difficult to express and hard to pin down, and that art and artistic research often avoid any form of
stable meaning. “Maybe” refers, in positive terms, to the lack of certainty, and of any general statement presenting the whole. It is rather a marker for
an active reconsideration of ways of presenting knowledge in the context of art. Pointing to the challenge that art poses to the desire for coherence,
and questioning our addiction to words, this program aims to inspire ways of acting inside different ideas and logics. It indicates the impossibility of
reducing art—and any other complex form of knowledge—to a single explanation, question, subject matter, or paradigm.»8
(…)
This vacillation –caused by the artistic method of conveying research into the real, into an artwork– has the virtue of perceiving the unknown without
its being transmitted into communication by the superficial sociality of the discourse. To refract the unknown without syntaxes, without the movement
of displacing the known and replacing it with a new known or the other known: this momentary forgetting of the syntaxes implies a momentary
forgetting about learning –that is, it can carry the unknown into a form, a formulation, that will allow the inconceivable to be conceived. And in not
knowing about syntax, it is imaginable that the topology of the subject could be another, and tus in its natureable, if only for a second, to listen to
a plant, an animal, or a drawing. And so the “maybe” comes also to name the possibility of discovering unsuspected positions between the animate
and the inanimate as well as among the many forms of life; an imagination capable of conceiving an act of knowledge among tose who live beyond
language. “
(…)“ Artistic research” names the effort, a force, a movement, rather than a method. When I speak of artistic research, I am not speaking of the
exhaustive research undertaken by artists before making a work. Nor should one confuse artistic research with contemporary art’s proximity to the
social sciences and their methods.” (…)
Art has retained this inversion of the relationship between meaning and saying as a way to overcome the traps of consciousness, that trascendental
principle thart rules the modern conception of the individual, that defines the political as an unambiguous text marked by intention of meaning and
able to produce and reproduce a very definite sense of empathy. This exercise of accepting the riddle of ambiguity, the constant alteration of the
realtions betwwen matter and words, time and meaning, defines a research manner that calls for a radical reconsideration of the role of the
language, of straightforward conceptions of how things interact, as well as the inventory of monologues produced by serious forms of meaning. And
this is how the “maybe” comes into play. The “Maybe” is a non-concept; it is a modifier. It denotes the attempt to introduce a difference into the
relations that define knowledge, the limits of language and the event of thinking in art. At first sight , it could be mistaken for a noun, indicating
disenchantment, a relativist position. Yet soon, positivity creeps back in; the "maybe" is the vertebral expression of a movement. It names a tension, a
state of imagination aiming toward the potential reorganization of the structure of the known and those who think they know. The "Maybe" is the
emblem of attention, a positive form of privation -the privation of certainty, of the statement that forms a conclusion- that introduces not only fiction
but a dimension of theatricality, since it puts all elements into play.
So rather than a quest for the void, tha dance introduced by the “maybe” can be taken as a journey that introduces us into the realm of artistic
research as an active reconsideration of certain representations of knowledge in the context of art. By asking, “What is the reverse of the known?”
the form of inquiry that takes place in art amounts to an intuitive grasp od a philosophical and political problematic that defines not only what
culture is but what it may be in the future.
“Artistic research” is an awful term; it is confusing in its similitude to “research” as we know in the academia fields. However, this misunderstanding
produces an interesting awareness of what is propossed by utterance. This conceptual diptych does not compromise any of its particulars. More than
anything, it “entertains” a paradox: the possibility of a non-deliberate system or discipline at the core of the deliberate ones. “research” here does
not name the embodiment of any particular form of academia training, but the gesture of placing the “maybe” at the core of the real. And this
causes something very simple to occur: knowledge vacilates. This permanent oscilation between positioning here –isolating some features of the real,
performing representation, living form to matter– and, at the same time, taking us faraway form the present time, is what I understand by “artistic
research”. 9
This new sense of artistic research that defines Chus Martínez building our aesthetic research with the artistic experimentation that goes
beyond the functionalist capacity of hypermodern empiricism, transcending the performativity of sense and its no-senses to a possible
relationship with the non-anthropological nonsense; that is, a discontinuity that overcoming the configurative discontinuity of the art image
raises a possibility to open non-paradigmatic relationships between the ontological fictional object with the ontic reality, allowing us to go
beyond the image of the art object; which leads us here to the last part of my presentation:
8 Martínez, Chus. Web dOCUMENTA (13). Programs: http://d13.documenta.de/#programs/ (2012)
9 Martínez, Chus. How a Tadpole Becomes a Frog. Belated Aesthetics, Politics, and Animated Matter: Toward a Theory of Artistic Research. Documenta (13) CATALOG 1/3.
The Book of the Books. 2012. P. 46-48/ 55-57.
14
As I introduced earlier, I refer to the art object (artistic object, aesthetic object, art project) and image of this art object (image of the object-
Art), to position all the anthropological framework of the production of the Sense –both in a research order as in an experimental order–, at a
really open prospect (not only ontologically) art project, that surpassing the myth of the artistic project can have real and ontic to a
non-hierarchical co-presence –not autonomous of the artistic symbolic object and not sovereign of the critical aesthetic object–; a Maybe
not predefined by the self in which the art object doesn't try to be what in essence is not, that is, to supplant its peculiarity by a universality
that will always be ontological, producing a global and indefinite image that places contemporary praxis and research on the artistic project
liberated from the empirical and the ontological, legitimizing a new hegemony in which artistic project turns a symbolic sovereign whose
production (or intangible functionalist post-production or not functionalist processual, post-conceptual, non-representational,
non-philosophic, non-linguistic and post-cultural), generate the utopian myth that represent us as free subjects, not of the Real, but reality in
its released image.
I want to say that for a certain observation of the art object, not its image, we would have overcome indeed as P. Huyghe mentioned, in
which art projects can be exhausted by the speeches, and for this precisely is advisable to redefine our mystified construction of an art that
is arranged in a situation even without cultural pretension–
Pierre Huyghe. –Untilled– 2011-2012 (detail), constructed situation. dOCUMENTA (13)
as in the well known and greatly influential today –the constructed situation - Untilled - conducted by P. Huyghe in the last Documenta 13
Kassel in which the artist says:
“ The place is enclosed. Elements and spaces from different times in history lie next to each other with no chronological order or sign of origin. What
is present are either physical adaptations of fictional and factal documents or existing things. In the compost of the Karlsaue park, artifacts, inanimate
elements, and living organisms... plants, animals, humans, bacteria, are left without culture.” 10
A project released, according to practices of the ATL, whose Open Present goes far beyond as Chus Martínez pointed out, (though
configuratively), human consideration of the present time, projecting to a stage where he could anticipate an eventual extinction of the Self
and its ontology, of the reasons for its representation.
However, Huyghe maintains and projected in his interviews in art magazines, catalogues in museums and galleries, or at conferences he
taught; an image of the myth, and I here I do not refer to the myth of a post-deity of a sculpture of a venus whose head is a beehive, or what
would be a decoding of anthropological thought - beyond of what that figure represents in the liturgy, please remember also the image of
this dog –called human– with the painted leg turned into a biosemiotic that derives as an iconographic image of Art,]
10
Huyghe, Pierre. The Guidebook, dOCUMENTA (13). CATALOG 3/3. 2012. P. 83
15
Pierre Huyghe. –Untilled– 2011-2012 (detail), constructed situation. dOCUMENTA (13)
but the image of Joseph Beuys's dead oak that present us the end of artistic utopia, is strengthened again in their photo in a kind of
representation loop where the image turns more symbolic than ever, and the dead tree serves as a credit both to the post conceptual
organic life and as to the political and social life of the Opsign, the post productive visual sign representing Beuys across a tree fallen icon,
the shaman's nature and apostolic energy of the end and the resurgence of life, and in particular, the possible revival of an artistic life in
which the post-symbolic is transfigured into project, and this project on which Beuys himself already worked socially and post productively,
becomes a mythic image of a shamanic process itself whereby the non-time, the non-repeatability, the no-function and the apparent
post-performative artistic discontinuity, generate, through the configurative discontinuity –both technique of the iconicity of the constructed
image and strategic discontinuity of post conceptual and pseudo liberated project elevated to the category of myth–, an unrealistic image of
the art object which becomes lying, image of what is not, in subterfuge, to the so-called liberated artistic project; If this Art Object contains
between its components the art object –that moves in the project losing its original function of symbolic autonomy; If it contains the
aesthetic object –which sublimates its sovereignty criticism–; and if it contains a housing project in which the art object and the aesthetic
object open a temporality and process; but those components are the art object's configurative discontinuity, since its opening is merely
technical, it returns to the encoding of the image and its close temporal and significant; and his strategy, in terms of released project, closes
first the viewer the configurative discontinuity of the possible interpretations– an effective cut in reading and in recognition of the situation
presented, represented and the artistic discontinuity that generates the cycle of natural phenomena, the living situation –post conceptual
and post-cultural–; but finally returns to that project released the iconicity of their mythology, so therefore an image of the released project,
which in this way will never be a project free, yet not.
As an alternative to this mythic image of the artistic project that over symbolizes an image of the art object; I put here a possible approach or
Maybe to an over-project (understanding –over– as –on the project– and as –out of the project–, in this clear case of the myth of the
project).
So I will give you as an example four photographs that are part of an ongoing project in which I am currently working. In the first instance
I did not intend to transform it into an specific project, I haven't decided yet if the four photographs will be objects of exposure, if they will
progress in its experimental character by adding other images from this series, or if they simply disappear as a proof, as an exercise whose
purpose is to find out a possible observation of the art object in its essence, in its ontology, in its criticism and technical and strategic
discontinuity in a possible artistic discontinuity that does not revert the art object to a projected image that falsifies it.
16
Untitled [ _überprojekt (#1). Cecilia Contreras, S/T ] 2014-ongoing.
Untitled [ _überprojekt (#2). Haizea Merino, MISHIMA ] 2014-ongoing.
17
Untitled [ _überprojekt (#3). Haizea Merino, MISHIMA ] 2014-ongoing.
Untitled [ _überprojekt (#4). Manu Uranga, Luka ] 2014-ongoing.
A selection of other people’s photographs. Mobile phone pictures, casual snaps (# 1, 2, 3), prepared photographs (#4). (dimensions variable)
Over project about the project and outside the project. ( øpsign ) –.
About the works or projects of clear artistic reference. About the paradigm of the project. About the colaborations and loans.
Free the project of its mythology – autoreferential. Of method and hegemonic inscritpion of the aesthetic framework.
Show it in its reality ontic / reflexive) and artifice.
Each entity and object being what it is and what – it seems (commonly closed – artistically open), freeing the work and the art object from the artistic
project dogma and its function or nonfunction.11
11 Discontinuity: a. A point at which a function is defined but is not continuous. / b. A point at which a function is undefined.
American Heritage Dictionary of the English Language, Fifth Edition. Houghton Mifflin Harcourt Publishing Company. 2011
18
The images given slightly lose the original meaning/sense they represented and they deviate from the intention or directionality with which
they were taken by their authors, thus forming a postconceptual story and that in this open project can behave ironically as nonsensical
images with certain legibility and interpretive discontinuity.
Situations, structures, artistic objectives, dogs with and without the identification of their owners, closed spaces and open landscapes
where in an imprecise and at the same time neutral way, they find sense and nonsense with the exterior nonsense within the representation
and the ecstatic imageable to remind us of other images and paradigmatic art projects (ATL, l'Association des Temps Libérés: Huyghe,
Gonzalez-Foerster, Gillick, Parreno, Tiravanija; Or Ondak, Aconcci, Kounellis, Kaprow, Matta-Clark, Mucha, Fischlli & Weiss, Beuys, Debord,
Duchamp ... among others; conscious of its denial and affirmation).
Overproject –about the works and affectivities of others and about the autoreferentiality of the artistic projects– auto suspension, collapse ...
in crisis of art; that reproduce methods and strategies in the stylistic cliché of the liberated project, postreadymade or anartist, and its
discourse (or the search for that nondraining by the discourse), the use – domesticated, directed, signalled or objectualized – of the animals
shown. (the three dogs in these photos were present in the project –Artists Working– in which their owners participated and who lend the
images) etc. free the project of its mythology and show it (exhibit it) in its reality and artistic reflection, which exposes its representation –still
desymbolised– and its strategy and artifice; in any case being a process of images (sense and) without sense which gain interest.
Over project –about the project and outside the project. Each thing and each object being what they are and also what they seem, are freed
by themselves of being open or of being tied.
The first of these photographs can remind – to the connoisseurs of contemporary art-, well to the muscic video that announces online the
recent #31Sao Paulo Bienal (Teaser: https://www.youtube.com/user/bienalsp ) Como farejar coisas que não existem | How to sniff things that
don't exist–, curated by Charles Esche, –video in which different breeds of dogs freely roam the empty halls of the famous Museum of Oscar
Niemeyer in Brasil - and which reproduces again the paradigm of an artistic project in which a man's architecture, his work, space, time and
image; disappear, suspended as if they didn't exist, and however held; post-human are celebrated and thus open to a situational project
where artistic ontology is occupied again by the biosemiotic. You can also remember different photographs of Huyghe’s (named) “human”
dog, designated under the hallmark of human representation for its fluorescent brand on a leg, that roams in appearance free compost of
the Karlsaue Park area (Kassel).
But is nonetheless an image simply autonomous, a non-artist, no title, no intentionality project, author of a photograph obtained with mobile
phone in an everyday situation of leisure time in a field and posted on social networks –Facebook–. A neutral image without drift to Art,
which I included in this series of my work as Opsign with obvious references, but actually free of every cause or effect added.
19
The second of these photographs could remind us to turn to in-transit spaces or situations in construction Dominique Gonzalez-Foerster,
like structures of pavers and tiles with which he collaborated with P. Huyghe in Untilled, Kassel; highlighting features released from the ATL
projects, common artistic collaborations between its members, and that is what they have formed as a paradigm no longer collective
project, but the so-called post-authorship and the celebration of the friendship (colegueo) among artists.
However is a friend on his picture before finally becoming a library that is being open to trade, a situation of pre-reading, which breaks the
scenographical La Bibliothèque clandestine [Secret Library] of Gonzalez-Foerster collaboration with Philippe Parreno (Palais de Tokyo, Paris
2014) in their post-conceptual (and dramatical) artistic scene.
You can recall this second photograph also Deconstructions of Matta-Clark and his anartist aspiration, or situational pictures and tourist
accidental by Gabriel Orozco (or perceptive and sensorial lighting installations of Olafur Eliasson –and his Third Project– or Robert Irwin,
among others), where the public networks and transit procedural blanks are transformed into iconoclasts of the art images and readymedial
images.
The third photo in this series, no elaborate backdrop, can remember indiscriminately to any local disused or an artistic study whose
documentary image, strict photography, establishes the Studio as place-archive of post-conceptual art research, as valid as a neutral space
or suspended, and legitimizes its transience and process (work in progress / –image– under construction) as sublimated technical
discontinuity, the art for the art and the space of the artist as place and non-place (in the manner of Robert Smithson) universalized.
You may also recall the photographic detail of Philippe idiote. An image made by Phillipe Parreno and Liam Gillick for the Moral Maze
exhibition at Le Consortium (Dijon) France, in 1995, when they created together with P. Huyghe, Gonzalez-Foerster, Tiravanija, etc. the ATL,
Association des Temps Libérés (Association of Freed Time).
An ironic and auto-parody image of ordinary daily life, identifying the artist but not distinguishing him as an author, but as a common name
and co-author in a non-place in any time; and whose insult also reminiscent of Idioms & idiots, of Ray Brassier and other proponents of the
freely improvised music, in whose trial published Brassier, as we have seen above, defines the non-philosophy according to the
non-representation.
20
Currently - last picture of this series, correspond to an artistic image project, a more complex photography project of the artist Manu Uranga
–who has collaborated with me in one of my recent projects such as Artists Working, where dogs, filmed in different phases of this project
for 3 years, participated freely with their owners. Therefore this image, here presents particularized - while forming part of a composite
picture high school, as study of installation and situational work where its sculptural support will present his pet in the exhibition space as
agent that determines a position and a balance with respect to the configurative Euclidean space – Uranga’s project; may remember us
undoubtedly the artistic use of domestic or wild animals by Huyghe, the anthropocentric iconology of the bio semiotic, the object´s rhetoric
and domesticated species, such as on the other hand declassifying the documentary photographs of L. Baumgarten - decentralizing the
myth of the wild and their rites. This sculptural state of the animal, is here as a precisely outlined object and image of all artistic ritual status;
that is to say, that this image serves first of all as a picture, as object photo [form(at), scale, cut, techs…], and as object of the image and the
representation that it transports.
Well, my approach consists in joining the sequence of these photographs, demonstrating its configurative discontinuity, and present them at
the same time both as neutral images much like art objects or with an artistic possibility. Not distinguish or prepend hierarchies between the
image non-authorial and artistic unintentionally, with the image of the project Art. Look at the object art in its entirety, physics, real and
imaginary. And then –check through this object both aesthetic, artistic and projecting how productive and post productive, and image of the
same object– which possibility of artistic discontinuity would be feasible without reintegrating this object in a false and ventriloquist, vision
without lying to the art. What cut-interval of exterior discontinuity to the artistic-anthropocentric ontology would be possible, how to gather
and co(art)-present the same Real object and its object photo with universe reality which escapes any current human consideration. How
emancipating ourselves from extinction and the death complex without reference it through an elusive image.
Therefore, raise them so the dynamic that I am to ensure the art object a Maybe, both ontological (sense) as really ontic (nonsense):
F FOR FAKE. Orson Welles, 1973 (“Truths and lies”)
–No, what we professional liars hope to serve is truth
21
To observe the art object [scientific observation of the object, empirical and investigative, but without being empir(e)icalist ]. To observe the
aesthetic object, the artistic object, the artistic project; without any of these realities and constructions of the Real, it takes (empower) over
the others and transforms them, it perverts or forceably performs); to observe the discontinuity of the art object.
I'm interested in seeing (and as a first contact as an artist of my –inevitably– nature), the dynamics of the projects before they become,
through their ways and derivations, in an image of this dynamic [or rhetoric or discourse or form or ideal(ized) thought – of the project]
I assume my desire to observe, know, live... (be, in every angle of existence including the emancipation of the idea of death or of void);
but without adding more decisions: afterwards we will see if by natural or artificial means something can be done, or nothing is done.
Without any problem in any of its possible variants (when they are done in a natural or direct way).
The first thing is not to reiterate the paradigm (or the dogma) of the project, see its different methods, situations and processes without them
converting in project in their own right (without stereotyping its actions or uses) above and beyond the artistic object, the aesthetic object, or
the scientific object –onticals or ontologicals–, or of the situations or phenomena of life and reality. Each thing to be what it is and also what
it seems, and this includes all of that which can, as things or objects, become or be given.
At the moment my interest is to observe this time space, essence, ontology, sensibility and discontinuities [configurative in the form and
intrinsic nature of each entity, thing, object or situation / and natural discontinuities that are involved, happen or affect; and including those
discontinuities singular and universal that are invisible or do not appear amongst them the physical, material, energy (visible and dark) and
the dimensions, such as Sense in its deferment and possible infinity; being undecideable one as much as the other, the Sense (in its
incompleteness) and the senselessness particular or universal].
In the same way that we do not now have a problem with the art object since it can move within an art project or can be by itself what it
already is; neutralize the problems and conditions of the art project that direct their nature and realities to the other side which does not
correspond to them, denying us the chance to see or recognize the falseness.
To see the project with or without function, with its variable functions and its dynamics and concluding or formalizing or formulating itself, in
an artistic object, aesthetic object of thought, etc.; o without formulating or realizing itself completely or partially...; accept its variables
without perverting them with an intentionality or objectives that do not correspond to them or which violate them.
(each object has to freely decide how it wishes to behave within the project; manifesting these decisions – impulsive or intentional).
One can make fiction, generate representation, produce sense and nonsense, do nothing, observe the nonsense, communicate, be (being,
self, I; intersubjectivity, subjectivity, presubjectivity force and possible objectivity); without provoking an exclusively anthropocentric
(segregatory) view. One can produce and develop afectivity, love, desire and other types of human feelings (identification, denial,
negotiation, agreement without submission or being subjected to, etc) and biosemiotic contacts; analize the politics and ideologies, etc, etc.
It would be about seeing and living the nature of the art object in all its time areas and all its orders, being free authors (and liberated?) of our
decisions and understanding our impulses, desires and reasoning.
To be independent, as much in the autonomy of the art and aesthetic object, as in the critical sovereingty of their project.
Live the nature and realities (open and finite) of the art object.
* Without adding utopia to the project, the art is already utopian itself.
www.inigocabo.com / www.iñigocabo.com