La precariedad de la forma. Lo sublime en la narrativa española contemporánea (Spanish Edition)

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Proceed to Basket. View basket. Continue shopping. Results 1 - 7 of 7. The fact is, however, that the shamans of old northern European cultures have always consumed these amanitas with no problem, taking quick advantage of their powerful entheogenic substances that lay within.

The sole prerequisite for its consumption is that the mushroom needs to be thoroughly dried. In the forests of central and northern Europe, it was not, therefore, uncommon to find conifers with a whole harvest of amanitas hanging from its branches in order for them to get dried. Happy to see how Mud Flag turned out once installed.

I particularly enjoyed the choice of mud picked for the occasion. In my latest forest incursions, I have spotted a mud pool that wild boars use and I have been thinking about the dialectic implications of such raw materialism. Of course, that could not be otherwise! Simon Monk, Enormous Charm no. Allez donc voir ce lien! Since around the s, plastic bags have been part and parcel of our everyday life as consumers. As such, they have come to represent a high-stakes threat to the world environment, with a utility span measured in minutes and an estimated lifespan of over years!

Billions of plastic bags are produced around the world every year, accu mulating in the environment and menacing the flora and faunas. The exhibition considers the subject of plastic bags from several angles, through works by artists and various installations. It also traces the history of the graphics marking certain legendary bags recognizable to several generations.

When artists resort to this medium for a particular installation, it is generally for purposes of condemning our consumer society. While passing the winter of in M. I told him of my astonishment at having noticed him several times at a Punch-and-Judy show, which had been set up on the market place, and which delighted the people with little dramatic burlesques, interwoven with songs and dances. He assured me that the pantomimic art of these puppets had given him much pleasure, making it quite plain that a dancer who wanted to develop himself could learn many things from them.

Since this utterance, by the manner in which it was made, seemed to me more than mere fancy, I sat down beside him to question him at some length about his reasons. He asked me whether I would not agree that the movement of the puppets, particularly of the smaller ones, was exceedingly graceful.

I could not deny that this was so, and that I had seen a group of four dancing a roundelay in peasant fashion that could not be improved upon even in a drawing by Teniers. I then made inquiries about the mechanism of these figures, and asked him how it was possible—without having myriads of strings attached to one's fingers—to direct each limb and all of its parts, the way the rhythm of the dance required it.

He advised me not to imagine that each limb was placed and manipulated singly by the puppeteer during the various moments of the dance. Each movement, he said, has a center of gravity; it would suffice to direct it in the inside of the figure; the limbs, which are nothing but pendula, follow mechanically without anyone's aid. He added that this movement was very simple, that each time, when the center of gravity moved in a straight line, the limbs were beginning to follow a curve, and that often, when shaken accidentally, the whole thing was swept along in a kind of rhythmic movement which resembled the dance.

This remark seemed to me to throw some light on the pleasure which he pretended to find in the marionette theater. Meanwhile I did not yet suspect the consequences he would draw from it later on. I asked him if he believed that the puppeteer who directed these figures was himself a dancer, or at least if he did not have to have some idea of the beautiful in the dance.

He replied that, though a thing might be easy in a mechanical sense, we could not necessarily deduce from that that it could be manipulated entirely without sensation. The line which the center of gravity had to describe was, to be sure, very simple, and, in his opinion, mostly straight.

In cases where it is crooked, the law of its curvature is at least of the first or, at best, second order, and also in this last case only elliptical; which form of movement, he said, was natural for the extremities of the human body, on account of the joints, and therefore it did not require much art for the puppeteer to describe it.

On the other hand, this line would remain something very mysterious. For it was nothing other than the road taken by the soul of the dancer, and he doubted if it could be found otherwise than through the fact that the puppeteer placed himself in the center of gravity of the puppet; in other words, that he danced. I answered that the puppeteer's job had been represented to me as something rather dull, somewhat like the turning of a handle when one is playing the hurdy-gurdy.

I expressed my astonishment, for I was struck that he should have considered this game, invented for the mob, worthy of a beautiful art. Not only that he should believe it capable of a higher evolution, but also that he himself seemed to be occupied with it. He smiled, saying that he dared assert that if a mechanic would construct a marionette according to his requirements, he would present a dance with it, which neither he nor any good dancer of his time, including Vestris, could equal.

What am I saying, dance? The sphere of their movements is rather limited, but those that are at their command develop with a tranquillity, lightness, and grace which astonishes every thinking mind. For the artist who is able to construct such a strange leg would doubtless be able to produce a whole group of puppets for him, according to his requirements. First of all—a negative one, my dear friend, that is, that it would never be affected. For affection, as you know, appears when the soul vis motrix finds itself at a point other than that of the center of gravity of the movement.

Since the puppeteer, as a matter of fact, when he holds this wire, holds no other point in his power but this one, all other limbs are what they should be, dead; they are only pendula that follow the pure law of gravitation; an excellent quality, which we seek in vain with most dancers. Just look at that woman dancer P. Look at young F. Such mistakes," he added, interrupting himself, "are unavoidable, since we have eaten of the tree of knowledge.

But Paradise is bolted, and the cherub is behind us; we must make a voyage around the earth and see if, perhaps, it is open again at the back. Obviously, I thought, the spirit cannot err, when there is no spirit. But I remarked that he had still other things on his mind, and begged him to go on. They know nothing of the inertia of matter, that quality which is the most antipodal to the dance, because the force which raises them into the air is greater than the one that keeps them enchained to the earth. What would our good G. The puppets need only the ground, like elves, to touch it and revivify the soaring of the limbs and to recover from the effort of the dance; a moment which obviously is not itself a dance, and with which nothing further can be done than to make it vanish, if possible.

He replied that it would be practically impossible for man to attain even approximately to mechanical being; only a God could measure himself with matter in this field, and here is the point where both ends of the circular world meet and join each other. I grew more and more astonished and did not know what to say to such strange assertions. Apparently, he said, while taking a bit of snuff, I had not read the third chapter of the Book of Moses very attentively: and whoever did not know that primary period of human culture, could not really discuss the following and, even less, the ultimate things.

I told him I was very well aware what disorders in the natural harmony of men were created by consciousness. A young man of my I acquaintance, I said, had as it were, lost his innocence before my very eyes, and had never afterwards recovered it, in spite of all kinds of imaginable efforts. About three I years ago, I said, I was swimming in the company of a young man, about whose culture there were marvelous stories in those days.

He may have been about sixteen years old, and only from very far away could one notice the first traces of vanity, a fact produced by the favor of women. It so happened that only a short time before, in Paris, he and I had seen the statue of the youth pulling a splinter from his foot; the cast of that statue is well known ad can be seen in most German collections. He was reminded of it, when he looked into the big mirror, while putting his foot on the footstool in order to dry it after the bath; he smiled and told me what a discovery he had made. Indeed, I, too, had made the same observation at that moment; but, whether it was that I wanted to examine the certainty of his taste for harmony, or whether I wanted to challenge his vanity, I laughed and replied that he was probably seeing things.

He blushed and lifted his foot a second time to show it to me: but the attempt failed, as one could easily have foreseen. Confused, he lifted his foot a third, a fourth, even a tenth time: in vain, he was unable to repeat the same movement. What am I saying? The movements he made had such comical features that I could hardly refrain from laughing.

From that day on, almost from the moment on, an inexplicable transformation took place in him. He began to stand in front of the mirror all day long, and one charm after another fell from him. An invisible and inexplicable power seemed to throw itself, like an iron net, around the free play of his gestures, and after a year, there was no longer any trace of charm to be discovered in him, that charm that had so delighted the eyes of those around him.

Even now, there is still one person alive who witnessed that strange and unhappy incident, and who could confirm it word for word as I have told it to you. I happened to be traveling in Russia and found myself on the country estate of Mr. The eldest, especially, who had just returned from a university, regarded himself as a virtuoso, and one morning, in his room he offered me a foil. We fought, but it happened that I was superior to him.

Passion added to his confusion. Almost every blow I struck was successful and his rapier finally flew into a corner. Half jestingly, half sensitively, he said, while picking it up, that he had found his master; but everything in this world found its own, in turn, and he proposed to lead me to my master. The brothers laughed out loud and cried: Let's go! Let's go down into the wood shed! And they took me by the hand and led me to a bear which Mr.

When I stepped in front of him, to amazement I saw the bear standing on his hind legs, leaning with his back on a stake, to which he was chained, his right paw lifted up, ready for anything. He looked me in the eye. That was his fencing position. I did not know whether I was dreaming when I saw myself opposite such an adversary; but—'Strike!

I tried to tempt him with feints; the bear did not stir. Once more I went at him with an immediate skill; I would have struck the chest of a man, without any doubt; the bear made a brief movement and parried the blow. Now I was almost in the position of young Mr. The gravity of the bear's manner reduced my self-assurance. Blows and feints followed each other, I was dripping with perspiration. In vain. Not only did the bear, like the best fencer in the world, parry all my blows; but— and here was a thing no fencer would be able to follow—he did not even seem to notice the feints: eye to eye, as if he could read my soul, he stood there, his paw ready for anything, and whenever my blows were not meant seriously, he simply did not move.

Do you believe this story? We see that in the degree in which reflection becomes darker and feebler in the organic world, grace emerges all the more shining and dominating. But just as the intersection of two lines from the same side of a point, after passing through the infinite, finds itself suddenly again on the other side; or, as the image of the concave mirror, after having gone off into the infinite, suddenly stands right before us again, so grace returns again after knowledge, as it were, has gone through the world of the infinite, in that it appears best in that human bodily structure which has no consciousness at all, or has an infinite consciousness—that is, in the mechanical puppet, or in the God.

The Codex consists of portable letter-size file boxes approximately After the first public viewing at Independent Curators International ICI in New York City, the Codex will be made available to other academic and art institutions for public exhibition. ICI Curatorial Hub. New York, NY Donald Kunze , Screen Theory in Brief We can be brought to imagine —although, in fact, we are more forced to imagine than freely left to self-indulge ourselves— that a pop is just an instance that breaks an otherwise ordinary sequence of events.

We have no other choice here, but to succumb to the antics of an attention grabber. Such is the economy of our epistemological vocation! In Absence of Tongues and Cheeks pretends to deliberately fictionalize the account of a genealogy, that of a type of attention grabber that makes its demands not within a quick transformational moment of shock, but by a sustained expansion of that shock through time.

Screens are everywhere, doubly ubiquitous, in space, and in time also, by endowing the remarkable, the abnormal, and the unexpected, with the quality of duration. Orthogonality is a screen requirement. It is the only effective and reasonable way to access its flatness. The stricter a stubborn orthogonal impact is the clearer it produces the flatness of screen typologies.

Those orthogonalities are candy for the eye. After popping, they spread their pure surface ever more thinly, all present, all exposed, all devoid of of any kind of hidden objectivity. In Absence of Tongues and Cheeks. Structure designed to allow the insertion of a lollipop into the wall. Installation views of the wall sucker. Shooting the Wrapper. Images that Halt Speed. An exact replica of a perfectly orthogonal bullet impact, the so called "bullet flowers". Reverse logic is at play because, indeed, images halt speed. Full Metal Jacket: Gerbera.

Added superficial emphasis and reflective enhancements. Photographic documentation of a chomed finish. Last Pop. Different installation views showing the lead popcorn firmly holding its container in place. Optopia Sours. Detailed installation view of a work that is partly set into the wall of the gallery. There are here concerned efforts at constructing a formal logic. It is playing with fire. Both of them push to the limits.

He tends towards high culture. His frames of reference are art history and contemporary theory. His work is meticulous and highly finished, sometimes industrially fabricated. He will seek the advice of engineers to help him solve technical problems. Fritz Welch is an artist and musician who plays in various bands, noise units and improvising ensembles.

He often collaborates with other artists, performers and choreographers. His working methods hover around and examine various interconnected cultural concerns that presently include Dr. Dick's The Man in the High Castle. Welch's drawings, sculptures, texts, sound works and performances take into account the excesses of consumerism and the absurdity of everyday life. His works are often constructed from found, or discarded objects, a practice which he connects directly with Arte Povera, or artists such as Gordon Matta-Clark, David Hammons and Kurt Schwitters.

The pairing of theses two artists was never coincidental. Both of them bring a dry, sly and ironic sense of humour to their work. Both of them produce in many media, depending on the project they are involved in.

Welcome to peepingMonster. Ruben Verdu artworks, news, and writings

Both of them employ a performance element. JiM Contemporani. Rambla de Catalunya 43, Open Wed. Or by appointment. The opening of the Fabra i Coats was a huge success. More than six thousand visitors in a few hours. I am very happy with the public response. Congratulations to all, indeed!!! For the ones that couldn't make it, here is "All Begins at the Horizon". Does Olympic nationalism, the Republican convention, the Hamptons, museum and art world inertia and a body politic mired in cultural entropy, intellectual paralysis, moral vacuity and historical amnesia got you apathetic?

Don't reach for the bottle, or the gun, or the suicide belt but come to the NYC summer happening of the season, a dusk to dawn event of monstrous performance art in live and video formats culled from the curatorial laboratory of Raul Zamudio. The exhibition Celebrity Skin takes its title from a song by the same name authored by the rock band Hole. In metaphorically written in the first person and alluding to the affected, unapologetic and ultimately redemptive life of its singer, its self-reflexivity is loaded with subtext about the vacuity of the music and Hollywood movie industries and their coteries of deal-making agents, paparazzi, cosmetic surgeons, hangers-on, and general star-struck, stargazers.

Ruben Verdu's art practice takes so many courses of action that is difficult to classify or package in any kind of predictable statement. Anything beyond a specific approach or investment in a particular topic —instances within which he can, otherwise, build cohesive narratives— is neglected. His work rests solely on what he calls cultural opportunism. Far from pursuing the construction of a cohesive curriculum or a proper professional trajectory, and uncomfortable with anything related to the status of an auratic figure, Ruben Verdu chooses to enter instead a polymorphic space of action, one that affords him, in consequence, a better way to guide his interests and work the most appropriate plan to intervene on his self-imposed choices.

By not being compromised to think about what is most appropriate, he procures for himself freedom of action and thought. That freedom allows his work to branch into a wide range of formal and conceptual propositions. There are, however, traceable relationships scattered along the winding nature of his work, an impulse to examine the nature of artistic practice and its codes, a way to dig into the systematic logic of cultural affairs, a comfort exploring contradiction as a viable choice of lifestyle, and a call to search for unrelated episodes that thrive in potential schizoid narratives.

The question remains, and here revolves one of his major concerns: Are we not loosing too much time and energy searching for spaces of relevance? Would not it be better to keep on walking? A recurrent tool often used by Verdu is the ekphrasis , in other words, the detailed written description of a work of art. In Ancient Greece, it played a very important role in the rhetorical exercises that constituted the core subject of youth education.

Today, in fact, we owe to these descriptions everything we know about the paintings of that period since they have, indeed, not survived the passage of time. At one point, we begin to notice, however, how many of our mythological constructs are tight to that concept of loss. If we turn that assumption around and propose instead a detailed description of an imagined object that does not yet exists, this mythological urge reappears. This is how Verdu intents his ekphrasis to work. He intends to influence the construction of that fascination we develop around objects we cannot access.

The Inhuman: Operating Manual is based on one of his ekphrasis. In this case, Verdu makes a written intervention in Walter Tevis' novel, The Man who Fell to Earth , published in and the one on which Nicolas Roeg based his movie of the same title. There is a scene in the movie that takes place around a ping-pong table just when the main character, Thomas Jerome Newton, who comes from another planet, begins his particular type of Icarian fall. All the way up to that point, he has been a very successful businessman and, not surprisingly, successful also in matters related to love.

That part of the movie shows the point of inflection where Newton regains conscience of his origins, and brings on the developments that later will prove fatal for him. In the novel this ping-pong table does not appear, and that is the opportunity Verdu takes to introduce his ekphrasis and further modify even the narrative of the film. The intervention in the book consists on a written description of a peculiar work of art, an odd porcelain sculpture of a couple playing table tennis, odd because a ball bounces endlessly from one side to the other enabling a play that effectively never ends.

Three intervened editions of the novel are finally exhibited in the gallery, one is displayed opened at the pages where the ekphrasis appears allowing viewers a discrete read, the other ones are bound shot and are laid on a ping-pong table that is installed nearby inviting viewers to play sets of table tennis using them. Ping-pong becomes clearly an insisting remainder of repetitive principles, of the trip back and forth that the main character does from human nature back to his own, and of the ball that bounces on top of the contents of an author that Verdu intends inappropriately to make his own.

Happy to be part of Oh, Plastiksack! Plastic bags are found everywhere in the world; their useful life is fleeting yet they are almost indestructible. These feather-light, gently rustling objects have a versatile beauty. In addition to their use for packaging and carrying things, they have been adapted for a wide variety of other purposes.

They reflect consumer behavior, advertise status, reinforce identity, damage the environment and narrate our cultural history. At the same time, they are a symbol of our global society. The exhibition in the Forum is dedicated to the plastic bag as an everyday item and as a focus for art and design. This much-discussed plastic product is explored in the context of society and the environment and as a theme of contemporary artistic work in the fields of painting, photography, installation, performance, urban art and design.

Instructions: 1. All the markings present on the asphalt that distribute, manage, and assign space for the parking of vehicles should first be measured and recorded in order to proceed later to its exact replication. Ground speed from the rotation of Earth should be figured from the above results, and should be brought down to 10 milliseconds measurements of time. The final numbers reflect the amount of ground displacement Earth rotation inflicts on apparently stable and unquestioned space.

For the third iteration of Art in the Parking space, artists Warren Neidich and Elena Bajo have organized a group of locally recognized Los Angeles-based artists, alongside a band of internationally-known ones, in order to produce a dynamic social sculpture that invokes the anarchy and provocative essence of LA street culture. The parking garage represents a site of unlimited temporal potential, where multiple times and spaces collide. We really only occupy a parking space for a small section of time, moving our automobiles continually in and out of their institutionally elaborated spaces.

It is this very mutability that defines the character of this extravaganza. For this staging at the Standard Hollywood, the cars will be assembled together in stationary and dynamic, continuous networks—a materialization of the super highway. Here, the parking space itself acts as a stage in which a theater of the absurd in the 21st century can become inaugurated. Frieze asked a number of artists, curators and critics for their picks of Thanx Max!!!

A new curatorial project by Raul Zamudio together, this time, with Daniel Gonzalez Lozano, is showing works of a number of international artists at the Pristine Galerie in Monterrey, Mexico. This show, like the novel by Don DeLillo on which is based, takes us also through a hyper-wasteful farce of extravagant wealth, and spuns the rampant capitalism that conditions most of our contemporary experience out of its wits and assumed logic.

It will be up and running until February 14th, He waited. Pressing upon us. The rat closed lower today against the euro. Every U. Money has lost its narrative quality— Money is talking to itself. Al no defender territorio, sus fuerzas se diluyen en lo temporal. Lo que ganan no se puede acumular. Since it seems that there's an ongoing celebration on the 20th anniversary kick-off of Grunge with an everyday insistence on the release, a while ago, of Nirvana's "Nevermind" and Pearl Jam's "Ten", I'm compelled to add this picture to the celebration that was published, again, a while ago, on Revolver.

Continuum 13 as it appears in the fall edition of the music magazine Revolver. Que quedi clar!!! These are, indeed, terms that artists are not usually inclined to explore, but that, in many cases —I am a good example of it—, we are ready to push around and challenge in a rather naive way. My most felt thanks go, therefore, to these very thoughtful presenters: to Mazie M.

How to Philosophize with a Hammer is an exhibition of international artists that work in video, painting, sculpture, works-on-paper, photography, installation, and performance. How to Philosophize with a Hammer followed the Gay Science in which Nietzsche pronounced that "god is dead. The artists address the exhibition's thematic framework in myriad ways where their philosophizing is articulated through diverse artistic genres.

Some philosophers have viewed artistic practice as a form of philosophy, and the iconoclasm of these artists' works ideologically hammers against political, financial, social, and religious institutions. This resistance signals the need to reinvent new modes of thinking and being while reflecting on the existential, global crisis that humanity finds itself marked by wars, ecological disaster, economic collapse, terrorism, and revolution.

In short, it is the perfect end of summer exhibition. White Box Gallery Broome St. NY, NY Interview conducted by Pilar Bonet. In your biographical profile, you give greater emphasis to your academic training than to your record of exhibitions. What is the impact your training periods, other discourses and readings, and your literary and philosophical investigations, have on your artistic project?

Put like that, the details of my academic training seem to have a rather symptomatic function. It could be said that, by emphasizing them, I show myself leaning more towards reflection processes than to upholding static constructs that stem from strings of faits accomplis. For me, it is impossible to generate projects beyond the confines of that space. By occupying this training space I propose a way of understanding my role as being one far from those grand teleological narratives which are the common trend of our culture. I acknowledge the fact that they are a major part of the historic ambition of culture and that they feed its supposed transcendence; nevertheless, I prefer the accidental, interrupted, sinuous, and dissolved dynamics of our contemporary thought.

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I lose myself trying to satiate my curiosity. I feel it is my duty and responsibility —responsibility in the strict sense of the word— to respond, to generate exchanges. For me, this propensity towards the unstable paves the way for opportunism. Within any exhibiting intent, any ambition to share in the public, we are expected to end up wallowing in the mud of what is common to us. It is expected too that this economy of the common ends up governed by contentions of relevance, and that, in that context, our efforts are forced to fight for the limited spaces of public exposure.

Nothing more. Therefore, in the current circumstances, where there are no longer grand ideological conceits, opportunism is a requirement. By constantly occupying this training space, I yield myself to this requirement. Considering the outline of your works, it is clear that you do not identify specifically with concrete formats or languages. What are the reasons behind this choice, and what previous projects are the most immediate referents to "Solvitur Ambulando"? In some respects, my position is mainly that of a consumer and, therefore, I renounce certain privileges.

Duchamp made three basic interventions on the original sculpture of his brother. To begin with, he brought it to a monumental size. Its initial height of 44 centimetres became centimetres. He also gave it a title. It was renamed "Cheval Majeur" after Finally, he placed it on a revolving pedestal powered by a small electric motor. It is obvious that, in this correlation of events, I stood before a chain of consumption that I did not wish to break.

I have always been drawn to the way Michel de Certeau depicts the figure of the consumer. The submission assumed by the consumer in front of the impositions of the proper, before the defence of property as a privileged structure, grants him or her, on the other hand, considerable room for maneuvering. In contrast with these structures of ownership based on patrimony, historic stagnation, lineage and transcendence, the consumer gains on greater mobility.

Consumer actions are disconnected from one another. Profits cannot be added to them. The consumer is the perfect opportunist. The reasons I choose to produce this work, therefore, are entirely removed from my biographical trajectory. It is part of something else, an economy of contagion. Within this economy, I just saw the possibility of undertaking certain interventions. In the case of the "Cheval Majeur" incident and, considering the tight production schedule that was given to me, I contemplated, although it might not seem so, a performance-based action.

In fact, the proposal I made to him was really simple, to add a one-horsepower-engine to a reproduction of "Cheval Majeur". No one knew what would finally come out of this intervention, nor was there time to amend what would finally take place. The project you have presented at La Capella is structured into three different scenes. They cite specific references, names and trademarks in contemporary culture the film "The Cabinet of Dr. Caligari", an appropriation of Duchamp, and a text by Beckett.

Your intervention shakes the registers of this historic heritage setting in motion the mechanisms of meaning and the spinning of the logos , turning them into a perplexing and loud machinery that fills the space with hustle and bustle and interpretative labyrinths. Is this a form of cannibalism, enthronement, or delirious postproduction? I like the fact that it arouses this phagocytotic feeling. It is the same feeling I have before the persistent transcendence of the historic that seems insatiable to me, that engulfs everything. I would like to think that I can poison this state of things a little bit.

The three tropic methods I endeavour to explore in "Solvitur Ambulando" are part of a semiotic navigation exercise. This is what it entails, it simply lets you get carried away by symbolic displacements. The inertia of the logos , its stasis, its rigor mortis , contrasts with what really interests me: to show the mechanics of flow that, like the movements of a spinning top, keep the privileges of an inanimate centre, completely dead, and always upright.

The tropes, metaphors, hyperboles, metonyms, allegories, etc. Sometimes I think that it is totally possible. With "Solvitur Ambulando", in any case, my contributions do not seek to undertake any of those Oedipal transformations that figure prominently in traditional generational changeovers, nor do I intend to lay claim to a historic review that restores the glory of some dead people.

I endeavor to be bound, I insist, to a throw-away culture that we should not simplify only in material terms. Use naturally entails abuse and waste as if it were a digestive process. The circulation this process generates, this constant movement, so typically tropical, is the result of the inability to cling onto anything. This is probably the kind of delirious postproduction that I would like to share with others because you could give in to the temptation of thinking that, by using this recycling process, we can establish now a stable form of production, a formula, and that is not true.

Culture has always been post-production, but, until now, it has been a postproduction tied to establishing permanent long-lasting paradigms, and that is no longer possible. Let us recall that, in the three cases that "Solvitur Ambulando" asks us to pay attention to, we are faced with examples originally conceived to be executed within the field of mechanised reproduction, and, thereby, already create a container of scattered dimensions and of indeterminate shape. It stirs a feeling of tension and danger in the viewer owing to the dynamic strength and terrifying sound of machinery.

By contrast, the books of Beckett, the pages from the chained translations of "Pavesas", paragraphs that are subjected to a number of translations into various languages, are absolute silence. The contrasts are really striking but are just a reflection of the range of registers I wished to explore. The tropical architecture I sought to investigate can take on infinite forms but, between the three examples I decided to work with, considerable room for manoeuvre can still be found. We have already discussed "Solvitur Deambulando: Cheval Vapeur CV ", and its tendency to immediately grab the attention of visitors, its capacity to cause a spectacle, to stir a certain degree of apprehension which, at times, can instil fear.

However, this result, as I have already said, was completely unexpected and part of a performance-based goal, and it cannot be a final answer because tropical structures come from afar and have their own history. To me, "Solvitur Somnambulando: Holstenwall" establishes, as an introduction, that point of departure, that entrance. I believe that the cinematic apparatus is tropical by default, but, beyond that, I believe it establishes an interesting association with a very specific concept of death also.

This reference to the afterlife allows me to move closer to the necrophilic dimension of culture and to give it the opportunity it deserves to show itself like it is, clearly, without euphemisms or disguises. For this reason, the three works are presented like zombies , like the living dead, like moving inanimate beings. I also consider that the cinematographic effect is nothing other than reanimation, the spastic resuscitation of the photographic image. Photography always ends up being a memento mori. It always goes after the capture of a moment that rapidly becomes an irretrievable one, and then tends to exploit all those nostalgic aspects that relate to this imminent loss.

Siegfried Kracauer says that, following this movie, German directors confined one hundred per cent of their filming to the complete control available only in the artificial world of the studios. They preferred not to film from nature. The city of Holstenwall was built entirely within this enclosed space, an example, therefore, of total architecture. By removing actors and moving objects from the film, I emphasized that it was this architecture the one that ended up destroyed, gone forever, irrecoverable, when the filming concluded.

Not any other one. Different frames from "Hostenwall" depicting some landmarks of this fictional town. It steals my attention because it has a capacity to address these tropical dynamics as if they were the wanderings of a nomadic experience. The scale of production, in this case, expands itself, surprisingly, to a series of activities that take place within the scope of our new global reality. The proposal is simple. It entails subjecting a text to a constant flow or chain of human translations.

In the specific context of La Capella, we can see on display the final results of a first batch of translations; however, this does not stop the continuity of the process which, in fact, has no end, and continually points towards the future promise of new results. This series of translations subjects the original text to a number of linguistic deformations that inevitably render a new text. The final unfolding or outcome is reached by a process of replacing the original pages of "Ohio Impromptu", as originally published by Tusquets, with the content of the last translation.

Visitors to the exhibition therefore have the opportunity to read the content of a new title, "Tropical Ohio". The displacements that this text takes within the globalised architecture of today's world, affecting the personal realities of the translators and, at the same time, generating a continuous expectation of new results is what I am most interested to capture in all this process. In short, its transience only bears more opportunism. Back cover of an intervened edition of Samuel Beckett's short theater pieces published by Editorial Tusquets.

It is finally here! Another publication superbly designed by the guys at Folch Studio that aims to expand the work presented in the space of La Capella with an interview, and an artist intervention specially conceived for the occasion. The event will also conclude this year edition of the award series, and will mark the beginning of the next one.

T-shirt by the pioneering art collective The Autreurs. O DAndy pronunciado, Oh Dandy! Muchos hemos perdido ya la paciencia. No necesitan establecer ninguna lucha. By further exploring the hyperbolic fiction present in the series of teenager gamebooks "Choose Your Own Adventure", the exhibition becomes a visual essay, as well as, a narrated account on what it means to be an artist today. It brings a multifarious approach to a notion that, half way between an art's meta-discursive story and a parodic tale, tries to foreground the supposed roles —or impairments— of any art production.

Following the conceptual premise of the show, I've proposed "A Warm Place" in order to further explore the territorializing force of speech acts. Perhaps, historicism, its practices, and practitioners, are overwhelmingly concerned with "plagiarism" since it muddies their referential network, and complicates their intent to put the house in order.

If contemporary art practice is sure of something, it is certainly sure of not furthering that case of old fashion teleology. Art practice, not just now, but all along, responds, above all, to a call to relevance, an aim to engage in a discursive enactment, not to a call of idiosyncratic isolationism. To make itself fully communicable, the economy of authorial territories can only be constructed by heavily borrowing things.

This is where the notion of "tropism" comes to have such a huge place in today's discourse. It is not just that "…solution is achieved by ending the discussion and simply walking away from the opposition". The collaboration raised a series of questions that, we thought, were relevant to the context of the talks. We, Diego Pujal, Ruben Verdu, and Alex Mitrani two artists and a critic, have cross-challenged ourselves to play a game that generates all those discursive elements that grow around —like a wrapper or cover— the work of art, and that usually are developed later, namely: the title, the description, and the critique.

The goal is to generate them in mutual support of each other, but without the work that, supposedly, originates them. In this way, we are activating a para-creative process that allow us to bring forward certain questions about authorship, the production of a work of art, and the legitimating discourses that surround it.

Ruben Verdu – Contemporary Artist, Barcelona, Spain

From the onset, the arbitrary nature of the rules of the game leaves us free from taking any kind of clear side in the issues at stake. Risk is taken solely by jumping into the unknown conclusions of an open ended game, sometimes a bit blasphemous, accepting, meanwhile, the unsettling and the constant tossing around that the results might provoke at the end.

You can continue reading more about "Obrar sin obra" here. Hope to see you all there!!! The phantasmagorical is a constitutive condition of all screens, but it is, in this instance, more evident since the nature that produces it is inherently blind. To read the rest of the article click here. With this kind of exalted manifesto, I try to figure out what could be the effects of a different cultural priority, one that I intend to identify with an unaffected nomadism that ends, then, much in critical opposition to the imperative aesthetic of the sublime.

Ruben, I remember first seeing your work at the University of Texas's Glass Gallery, sometime in the early '90s, around It was a piece with a running electric fan and some text, I believe it included the words: "Prima la porta…" I remember thinking that this work was very different from other work I was seeing at the time In truth, you are kind of mixing works, and putting together parts of two pieces that were shown, I think, at end of The main installation took advantage of the settings which I've always found very curious. As you know, three walls of the gallery were made out of panes of glass that run from floor to ceiling, an issue that not only gave that space its name, the Glass Gallery, but also a certain look of vitrine, of display.

The fact is that it wasn't very accommodating space for some artists, especially painters, photographers, and others that rely on walls to show their work. That's why there were permanently a number of floating walls to compensate for that lack of support and opaqueness. It was also high, and overlooking across the border into de colonias of Ciudad Juarez. From there one could enjoy, almost everyday, a full blown sunset. Can you see? It displayed a concrete panoramic, a Benthamian privilege. So I began by emptying the space. It just happened that the only opaque wall that opposed the otherwise transparent scheme of the gallery was placed in front of the door.

I could, therefore, organize the viewing accordingly. This was highlighted on that wall which, painted entirely in black, displayed the title of the show in monumental dimensions. I rigged, as well, an industrial fan that blew a huge mass of air toward the door, and prevented a confident entrance into the space. In front of the fan, and blowing with more vigor, there was, most importantly, a white fur flag with eight nipples on each of its sides.

Detail of flag. Glass Gallery. El Paso, Texas. As you know, Gilles Deleuze, was very fond of analyzing territorialization practices. He believed that territorial animals are amazing because to constitute a territory has always been very close to the beginning of all art. One image accompanied my thoughts, then, all the time, the etruscan Capitoline she-wolf that reared Romulus and Remus, that became the symbol of the establishment of the Roman Empire, and a model of our modern concept of State.

Can you talk a little bit about how you ended up in El Paso. How did that experience affected your work? I arrived to El Paso from a long trip through Mexico and Guatemala. I arrived very politicized, and with intentions to return to the south soon. I was at the time trying to obtain the Mexican nationality.

I've always dealt with my kind of blurred, undefinable, mistaken identity, a bit of this, a bit of that, very naturally. A couple of months ago, I visit again with a very good friend of mine, the writer Roger Colom that lives now also in Spain although he was born and grew up in Ciudad Juarez.