DOWNLOADS:Método de interacción press release (ESP/ENG)

May 8 – June 22, 2010

Mechanisms to get involved in an art that pleases and perplexes:

There are works of art that are constituted by lines of flight that are continuous in time.

The producer of the work is just a metaphor, a mediation capable of carrying vibrations; by contrast, his/her images enjoy their own existence, and even moments of going beyond his/her control.

The beginning of all things is the image; the verb will come later.

The living trace (mark, drawing, displacement) is the foundation of reflection.  To imagine is to put into images, and thus drawing is thought materialized onto a piece of paper: a diagram, an equation, a plane, a map, an object of creation, resources in which the scale of things is arbitrary: tiny becomes monumental, and immensity fits within a miniscule space.

Beyond representation, the thing is a mystery.

The idea of a finished work gives way to a continuous unfolding, a process with no limit in time.  It is not a matter of an open work, but rather of an operation that flows.  To collect is to retain an evolving index, to shelter something that is scarcely a flow in time.

The exhibition is the location of the gaze, the moment of dialogical reflection.

The first thing to be displaced in the exhibition space are traces of earlier processes of education, creation and thought; later the work’s other executor, the spectator, comes in, a constitutive component of the interstitial zone.  Without the spectator, the work disappears.

What we regard as empty is often constructive material.

The work is found in the interval between two people, in the heterotopic place of creation, where time and space are rearticulated, a threshold where certainty succumbs.

The art object has its own subjectivity.

Among rhetorical figures, the oxymoron is the extreme paradox where sense proliferates, the product of a collision between counterposed meanings.  Certain works are oxymorons in order to be viewed, touched, traversed by the body.

Memory in a semi-waking state may transform itself into a deluge of creation-thought.

The archive is the work of art par excellence, a site at which experience rests and adjusts itself before being reactivated.

The adventure of exploration is to be found between the figuration of the world and its modification: the journey.

Chance and paradox constitute another pedagogy of art.  To experiment with form is to engage technologies of lateral slippage, of folds, assemblage, rearticulation: modes of de-fragmenting experience, to make creation interact expansively, wandering freely in the time to come.

Francisco Reyes Palma