alligator videoplayer


Alligators Situation
HD Video. 83 min. 2016
(clip 5 min.)


crossoveraxtabrili vid player 2


Alligators Situation (multicamera)
HD Video. 19 min. 2016


 CAM Wall


Alligators Situation CAM live-projection

Invisible (or unmet) Video-Sound projection, USF CAM Contemporary Art Museum facade.

(Constructed – live) Situation (explicit). Mediation of the Public exhibition process. Instrumentalized Art object: Sense / Nonsense | artistic objects – aesthetic biosemiotic fact, in movement on an ongoing artistic project) output for the Workshop.


2 Alligators, male (11 ft.) – female (9 ft.)
Croc Encounters
Reptile Park & Wildlife Center
Tampa, Florida

Photographies (studio-walk collages):

Robert Rauschenberg
Study for Chinese Summerhall III, 1982-83
chromogenic print
88 x 38 1/4 in.
Study for Chinese Summerhall V, 1982-83
chromogenic print
30 x 95 in.
Study for Chinese Summerhall I, 1982-83
chromogenic print
32 x 100 in.

(All) Published by Graphicstudio, University of South Florida Collection

USF CAM Tampa (Florida), U.S.A.

Institute for Research in Art

Graphicstudio | Contemporary Art Museum | Public Art

Amy Allison
Program Coordinator

Shannon Annis
Exhibitions Manager / Registrar

Madeline Baker

Graphic Designer | New Media Assistant

Alyssa Cordero
Events Coordinator

Alexa Favata

Deputy Director

Peter Foe
Curator of the Collection

Ian Foe


Mark Fredricks
Communications Specialist

Don Fuller
New Media Curator

Ashley Jablonski

Student Office Assistant

Eric Jonas
Collection Assistant

Vincent Kral
Chief Preparator

Margaret Miller


Anthony Wong Palms
Exhibitions Coordinator / Designer

Noel Smith
Curator of Latin American and Caribbean Art

Institute for Research in Art

Graphicstudio | Contemporary Art Museum | Public Art - 2

Andrea Tamborello

David Waterman
Chief of Security

Giovanny Baez

Amra Causavic

Megan Kotke

Fall 2016 Interns

Management – project coordination: Vicky Trespando

USF, Kennedy Family Foundation Artist in Residence Program:
Wallace Wilson Director. School of Art and Art History, College of the Arts. University of South Florida,
Julie Herrin, Maureen Slossen, Don Corbin.

Cameras, Sound:
Don Fuller, David Waterman (USF CAM Security cameras), Brianna Sewar, IC.
Video editing: Brianna Sewar, IC.


Kate Alboreo, Samir Bernardez, Patrick Blocher, Nestor Caparrós Martín, Joshua Dodhia, Brandon Geurts, Laura Kim Meckling, Robert Lawrence, Roberto Marquez, Samira Pinto, Libbi Ponce, Zakriya Rabani, Vicky Trespando.

The two alligators - male and female - are among the many reptiles that belong to the the non-profit Reptile and wildlife Sanctuary and Educational facility Croc Encounters haven for unwanted animals.' The alligators were not harmed and were handled by professional trained and licensed wildlife experts. The fee paid by the artist to Croc Encounters is helping to maintain and fund the conservation of the species and to continue the sanctuary’s mission.

Discontinuity: The Revival of Sense

Basque Country Government, Culture Department.
USF University of South Florida, School of Art and Art History.
Kennedy Family Foundation Artists in Residence Program.
. Tampa (Florida), U.S.A
Institute for Research in Art
Graphicstudio | Contemporary Art Museum | Public Art


Constructed Situation (with Work in progress). Contemporary Art Museum (Institute for Research in Art): coinciding with the programming of a collective exhibition entitled “Extracted” | Event. Artworks, Context, Elements, Techs, Organisms, Phenomena. Live Deinstallation – Installation (morning –evening). University, Campus (Theater, Dance). Live Situation: Artists-Staff working, Alligators only listening-viewers / reaction - marks. Public (active-passive), passerby, dogs, vehicles, out of the Museum. Video-Sound recording (and photographic documentation). Exterior close-circuit live Wall-Video-Sound projection (invisible by the sun natural light). Workshop (Master in Fine Arts, Profesors, undergraduate Students): Movement of artistic and aesthetic objects, exposed (intentional non-intentional) to the natural cut-discontinuity (Sense-Nonsense). Night and Day studio-walks-essays. Communication (Social networks: Controversy).

Temporary non-programmatic practice of a non-complete closure of the Contemporary Art Museum to visitors (technical / strategic: exhibitions time protocol. Scenic. Ideological art symbolic critical gesture-position –which, somehow in turn, recalls certain exhibitions closing actions already renowned, assimilated and sedimented by the history of contemporary art–). Without museum staff in the interior art galleries and administration spaces (being filmed –cast, performers, agent-participants in the –art work configuration–: technicians, art handlers choreography, institutional representation, public relations and social media communication, video makers [Drama: -performing self-roles (inner structure, codes and symbolic-reflexive structure). Being part of the public (Self / Other, social-Self) –viewers (aesthetic subject –passive– and producer –active–) and playing-acting in dialogical live reflection with the audience (that accept to be recorded) trough their work process intervention and mediation (auto-museological, meta-artistic interpretations, the aesthetic object power/ organism. Bio-semiotic plot-argument questioning –beyond the performatic actions or the post-conceptual use of life animals in the art practices–] the Art frame Institution and factors exhibited to the public as scenographic ex-positional object (–Sett–, architectonic scenario / stage vitrine-object for display at the public square. Showcase - front screen-glass wall sequential image). Being filmed (register and copies) for its projection-reproduction (repetition / tautology of the eternal return of Sense and its delay / differance / deferment) on Museums, art spaces future expositions –also considering other kind of art praxis and research in any other non-exhibition places-times–.

Still-live mode contents (symbolic production interior space –place of cult – veneration - opening–, furniture, alligators, photo-collages, human absence, natural and artificial light): Static reptiles with sporadic change of position (raw – savage, captures, food, leather – ostentation of luxury, ancestry, iconology, mythos), R. Rauschemberg’s Studio-walk pictures –different exotic and everyday common Chines objects, edible farm animals, fabric, flowers, etc. (highly valuable artworks, relative risk status due to the alligators presence –were covered by a high insurance policy-), installed in front of the translucent glass wall façade-main entrance that connects with the exterior sun light. Reflexivity–mirroring, art and its double, see and being seen. Iconicity –appropiationism, postmodernity, citation – art collection, archive.

Sequential scenic-event [–Scene (cinema): delimited by the space and time] of the constructed and live Situationist art object; opening the question of its exposure (put at risk) to the art discontinuity (Undecidable nonsensical co-presence/ non-anthropic cut-interval in the Art-Sense production).


Once is given the suspension of the (f)act / mediation-manifestation of the artist (in/out of the Institute of Research in Art). What happens after the cut of Sense in the aesthetic object and its artistic “dérive” (drift – deviation / configurative discontinuity)?
What / how generates that one –undecidable, uninterpretable, unfanthomable– unaware shutdown (interruption) of the Situationist technique for passing smoothly through diverse settings?

In which movement -and / -or position could we unexpectedly experiment –in an unassailable way– the Uncertainty or Indetermination of the causal / intentional or impulsive will to Art principle; without recourse to the improvisation, to the invocative, or without the phenomenological conformance of the contingency event?

How the artistic project changes (Itself –and its referential Out-of-Self–)? And how would the Sense be reactivated once that situational constructed-live object has been co-presented ?, not only to the incidence of the nonsensical natural phenomena (undecidable, foreign to its phenomenological interpretation), but also be in readiness to some unforeseeable cut that (although it might be imperceptible for the aesthetic subject) affects to that preliminary Sense, reconditioning his artistic-aesthetic proposition ?.