FAS Fine Arts Studios, 2015 (rainy day).
Discontinuity: The Revival of Sense
USF University of South Florida, School of Art and Art History / Contemporary Art Museum. Institute for Research in Art.
Kennedy Family Foundation Artists in Residence Program. MFA (and undergraduate Students) Workshop, 2016:
Kate Alboreo, Samir Bernárdez Cabrera, Patrick Blocher, Nestor Caparrós Martín, Joshua Dodhia, Brandon Geurts,
Laura Kim Meckling, Robert Lawrence, Roberto Marquez, Samira Pinto, Libbi Ponce, Zakriya Rabani, Vicky Trespando.
Management: Vicky Trespando
Discontinuity: The Revival of Sense
FAS. Fine Arts Studios, 2016 (sunny day).
USF University of South Florida, School of Art and Art History /
Kennedy Family Foundation Artists in Residence program.
MFA (+ professor and undergraduate students) Workshop.
Alligators Situation– USF CAM, Contemporary Art Museum. Institute for Research in Art. 2016
(Constructed – live) Situation (explicit).
Mediation of the Public exhibition process. Instrumentalized Art object: Sense / Nonsense | artistic objects – aesthetic biosemiotic fact, in movement on an artistic project. Output for the Workshop.
Photographies (studio-walk collages):
|Study for Chinese Summerhall III,1982-83
88 x 38 1/4 in.
|Study for Chinese Summerhall V, 1982-83
30 x 95 in.
|Study for Chinese Summerhall I,1982-83
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
2 Alligators, male (11 ft.) – female (9 ft.)
Reptile Park & Wildlife Center
Constructed Situation (with “Work in progress” –ongoing project–). Contemporary Art Museum (Institute for Research in Art): coinciding with the programming of a collective exhibition entitled “Extracted” | Event. Artworks, Context, Elements, Techs, Phenomena. Live Deinstallation – Installation (morning –evening). University, Campus (Theater, Dance). Live Situation: Alligators –only viewers-listeners– / reaction. Artists – Museum Staff work. Public (active-passive), passerby, dogs, vehicles –out of the Museum–. Video-Sound recording Exterior close-circuit live Video-Sound Wall-projection (invisible by the sun natural light). Workshop (Master in Fine Arts, Professors, undergraduate Students): Movement of artistic and aesthetic objects, exposed (intentional non-intentional) to the natural cut-discontinuity (Sense-Nonsense). Day and Night studio-walks essays. Communication (+ Social networks sites: controversy).
Paradox: programming a ‘non-programmatic’ art practice –non-complete temporary closure of the Contemporary Art Museum to visitors (technical / strategic: exhibitions time protocol. Scenic. Ideological –art symbolical– critical gesture-position –which, somehow in turn, recalls certain exhibitions closing actions already renowned - assimilated 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 (which accept to be recorded) trough their work process intervention and mediation (meta-museum, 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-set / 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 / recursive eternal return of Sense and its delay / differance / deferment) on Museums and art spaces future expositions –also considering other kind of art praxis and research in any other non-exhibition places-times–.
Still-live contents mode (symbolic production, interior space –place of veneration–, 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 birds, flowers, etc. (highly valuable artworks –were covered by a high insurance policy because their relative risk status due to the alligators presence –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 is generated that one –undecidable, uninterpretable, unfanthomable– unaware shutdown (interruption) of the Situationist technique for passing smoothly through diverse settings?
In what movement and / or position could we unexpectedly experiment –in a nonsensical 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 (Free-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, (–a) reconditioning his artistic-aesthetic proposition ?.
Speech [TV preacher – homily parody / paradoxical (“Open” / Will) of the critical artistic discourse (Ethic / Aesthetic)] on the “Alligators (pre-human age ancestry) Situation” and their use – consumption.
Performed in different public and academic-open areas (CAM Museum, USF Tampa Library, etc.) in the USF Campus.
Creation (cultural notion) / Ideas- values (entities and immanents). Consciousness (unconscious –subconscious – conscious). Predation / Reproduction / Reflexivity / Love / Performativity / Representation / Fiction / Science / Production). Existence / Nature / Species / Presence / Hierarchy / Evolution / Transformation / Balance / Survival / Extinction. Instinct (–Faith / Hope–), Force (pre-cognitive –non-deliberative– Impulse), cognitive –deliberative– Desire, Sense (including non-sense –factual, logical, symbolical–), Possibility / Collapse – Discontinuity / lack of Knowledge–Sense (cut of the symbolic absence or deferral / aesthetic negativity) by the Natural [ontic and out of / non-human] Nonsense co-presence. –Reactivation of Sense after its cut-interval (art discontinuity) by the exterior –undecidable Other– Nonsense (out of the univocal Aesthetic distance –perspective of the eternal return of the Sense). The Sense is then distinguished in its natural distinct immanence. Not merely in its particular (exclusive / anthropocentric) condition of the performative construct of reality or its imaginal,-transcendental function and negativity, but in its Real –liminal– (negative, positive –itself being, active or passive– and neutral –presubjective–) coexistence in origin with the Nonsense (from) where Sense opens (the existence of the symbolic thought also emerge in the Real) and where it is consolidated given there, from their correlative existential natures, the true possibility of a comparative contrast of the Sense with the undecidable incidence or co-existence of the Nonsense (observational, perceptible or not) and the application of a distinctive (while comprehensive) attention and alternative observation-evaluation of each one of the Sense exponential configurative discontinuities trough-out its subjectivity production)–.
Fiction portrait. Acrylic on canvas. Contemporary Art Museum garden (night). 2016
Samir Bernárdez Cabrera
Action, ongoing project.
(‘Ephemeral Site-specific’) Floor mural-drawing, 2016.
Gravity Racer strokes on USF Contemporary Art Museum esplanade (night),
of the rounds - tours performed by the artist, outside the Museum, with his Gravity Racer among the public: museum staff, academics, artists, students and passersby,
(3 hours, before and during Alligators Situation).
Nestor Caparrós Martín
Spinning (Totem, UFO fictional model)
Clay. Ø 12 cm. x 8 cm. 2016.
Sculpture (amulet), site-specific installation, facing the CAM Museum outdoor security video-camera (night).
Question of Art discontinuity: (I) place (without -intention/ -will of the author; –collaboration / put at risk–) the artistic object behind a exterior wall, outside the visibility or contact (Impresence). Factual (“not provided”) unaware artistic gesture / symbolical or configurative discontinuity.
[The Art discontinuity –in this case– is what, unknowingly (without evocation or speculation) –undecidable–, could happen later (contingency / change) to that (‘post’)-art-object left there abandoned by the artist ].
Fetisch objet and intentions cast away –without preserving the memory or the ontological continuity of its original symbolic function–.
Performance. Shallow axe cuts on living Oak, pink oil painting.
Dimensions variable (evolvingaccording to the growth of the tree), 2016.
Laura Kim Meckling
Site-specific Intervention.Phenomena, Events.
Primary color pigments, Trees, string (visible / invisible –Triangles, changing light / shadow), insect larvae – eating painting | night walk.
Dimensions variable (evolving), 2016.
Night walk different positions – gestures.
Collective essay exercises – gaming, 2016.
Action (Artist himself), laser pointer projecting a light spot to the Moon, 2016.
(Without title) No location
Ambiguous invocation to a nonwork.
Without the artist. Imprecise (phone) indications for not finding a work, never, nowhere (close to a public artwork), 2016.
Life Science Anex (Building). University of South Florida, USF 2016.
Hubble Space Control Center: Negatives 1970 (Box) / Photographies.
Hubble Space Telescope Control Center –Touching– Non-developed Emuslion White Photo-paper (double location exposing).
Electronic Microscope (Drop of my Blood).
Spanish Moss (flowering plant) colonizing an Electric Rain Gauge Transmitter.
Dog shit with imprinted Footprint.
Shared Action (exercises) with sculpture objects, performed with / by Noor.
Domestically training game, 2016.
Drawing “Growth” hidden into a Microscope, 2016.
Roberto Marquez - IC
Day studio-walk(essays for an ‘unfeasible’ art discontinuity)
Artists clay sculpture (humor head) and party color objects. Garden, trees, Spanish moss, birds, pond. Conversation (art friends deliberation), contingency, pictures, 2016.
IC – Nestor Caparrós Martín
Field trip / Fieldwork (spacetime).
NASA, JFK Space Center. Cape Canaveral, Orlando (Florida) U.S.A.
ATLAS V Rocket launch: NOAA’s (National Oceanic and Atmospheric Administration)
Geostationary Operational Environmental Satellite-R (GOES-R). 11 /19 /2016
Ongoing project. Artists collaboration (upcoming).
Follow-up to the launch of the James Webb Space Telescope (2016-2021 onwards).