Publication: ¿Coincidir es cavar juntas? Una introducción a la investigación artística
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2020-11-17
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Abstract
He de empezar diciendo que tengo astigmatismo en el ojo izquierdo y por eso pongo el foco en distintos puntos a la vez. Nunca muy bien del todo. Aquí intento investigar modos de hacer, modos de no-hacer, procesos, obra y deseos tanto de algunas compañeras del MIAC como míos. También los diferentes tipos de saberes que tienen lugar (y los que no tienen). El primer capítulo consiste en mirarnos al espejo, pero no como hacen los críticos de arte (todas sabemos que a los críticos les encanta cenar a solas delante de un espejo), sino rompiéndolo y clavándonos un trozo para vernos dentro. La parte central nos la encontramos en obras. Mientras que la tercera podría ser una conversación. Esta estructura no es tanto un sandwich como una masa de pan; una masa madre que puede devenir en algo. El conjunto del libro aporta un relato (más cercano al asterismo que a la constelación) de nuestras prácticas.
I have to start by saying that I have astigmatism in my left eye and thats why I focus on different points at the same time. Never very well at all. Here I try to investigate ways of doing, ways of not-doing, processes, artworks and desires of some of my colleagues at MIAC as well as my own. Also the different types of knowledge that takes place (and those that don’t). The first chapter consists on looking at ourselves in the mirror, but not as art critics (we all know that critics love to dine alone in front of a mirror), but by breaking it and nailing a piece to see ourselves inside. The central part part is found to be in construction or remodeling. While the third could be a conversation. This structure is not so much a sandwich as a bread dough; a sourdough that can become something. The whole book provides a tale (closer to the asterism than to the constellation) of our practices.
I have to start by saying that I have astigmatism in my left eye and thats why I focus on different points at the same time. Never very well at all. Here I try to investigate ways of doing, ways of not-doing, processes, artworks and desires of some of my colleagues at MIAC as well as my own. Also the different types of knowledge that takes place (and those that don’t). The first chapter consists on looking at ourselves in the mirror, but not as art critics (we all know that critics love to dine alone in front of a mirror), but by breaking it and nailing a piece to see ourselves inside. The central part part is found to be in construction or remodeling. While the third could be a conversation. This structure is not so much a sandwich as a bread dough; a sourdough that can become something. The whole book provides a tale (closer to the asterism than to the constellation) of our practices.