User:Zigbe/writingTriester3-2

The exhibition.

Untitled (Electronic Gate)... 2014 (as it was exhibited at “Artista Como” in Sao Paulo)

The installation exists out of the need to document an action which is manifested as a visual work in the exhibition space. The action is lost in its objectification, leaving its invisible remains: GPS data, and found objects placed on a grid. The installation was divided in two works, a light/sound installation and a series of objects placed on a grid drew on the floor.

The light installation used all the available lamps (TL lights) of the space controlling their on/off state by a circuit. The circuit used the GPS data from a series of organized walks in the surrounding areas of the space together with a binary calculator to decide which and when the lamps should on. Using the binary calculation to transcribe the GPS data as ones and zeros I wrote a series of codes which would control the on/off sate of the lights of the space. A non-automatized composition generated from circle walks outside the space. At the change of each sequence one could hear the sounds of the relays echoing in the space followed by the TL lights in the ceiling. The visual of the installation was made wires taped on the ceiling traveling from each lamp to the central point where the circuit was installed giving an uncanny feeling of absence of safety in how it was installed.

As I walked around I collected a few specific objects which interested, made notes of its geographical positioning and placed on the grid on the floor. Creating a smaller scale of the outside cartography inside. Also during this movements around the neighborhood I convinced people to come and stand on the grid following the same rules set for the objects in exchange of money. Here I faced an ethical problem which I was not ready to deal with at the given moment. Despite my interest was to establish a working relationship with those people in the space, I felt the need to dismiss them from their duty to stand as an object.

My intention with these two actions was to illustrate my dissatisfaction as a young professional artist with the framework of the so called white cubes. Eliminating any kind of energetic outburst from the inside space. Avoiding transforming the documentation of my actions in a object, and instead using the data loss of the GPS as a documenting tool and transforming this data back in a programed technological performance. The performer then, the circuit board with all its wires, tapes, relays and sounds, worked as a virus-like machine which generated interference on how the space and therefore the other works should be perceived. Limiting from time to time the visibility of those works. As for the grid and its objects I intended to criticize my own practice of research. Looking outside for exotic influences, freezing and transforming it into art as “stills of life”. Its a reaction against using the exotic aesthetics outside of its context as material to give political value to the work. Pose both objects and people inside as raw matter. The failure of dealing with the people becomes important when it shows my nativity towards “in the name of art” and raises new questions to be explored.