The body, a heterotopi* in transition

*”Heterotopias are worlds within worlds, mirroring and diskursive spaces that are intense, disturbing, incompatible, contradictory or transforming”
M. Foucault

THE ART, THE WORK , THE ARTIST

The aesthetic field that houses “the art” have a variety of more or less creative definitions. From being equated with a war machine created by a nomad (artist) who draws maps, reterritorializes, plains and furrows to create a simple line of escape with reference to Gilles Deleuze, to being a politic that distributes the visible in the idea of ​​Jacques Ranciere .
In the beginning was the support of ”pharisees of modernism” and their elitist purpose to creating desire in the elegant and exclusive area of ​​”culture” only and exclusively for a ”cultural elite” that take the power to decide why yes and why not, something could be called The art.
But the history that overwhelms everything and everyone, decided not to anchor itself in modernism, and in its continuous journey allied itself with problematization and deconstruction, both purely relativistic and decisive factors that would bring down the tower that the ”geniuses” had built for generations, and it with the simple maneuver of overturning some stools.
Derrida created new terms and the Babel discussion tourn about concrete concepts.Does art have a ”function”? If, against all odds, someone decided to risk an answer, “the bodyless machine” would counterattack by asking ”Under what criteria is the function of art defined? Someone please?But a doubt is a doubt is a bunch of speculative statements.Similar issues have historically forced differents ”cultural entrepreneurs” when “The art” changes form from time to time and capriciously to drive ”the connoisseurs” to madness.Anything between creative transformation, one-sided elements, dysfunctional tones, affecting factors, lines related to concepts, including chemical formulas, can become art. The only role and function that art has had throughout its existence is being art… ”everything else is everything else” has been said.In accordance with my pretensions of ”making art”, I have put är little stone in the footwear of culture, like Heiddeger calls a shoe. I think about ”The Unknown Soldier” by Hugo Ball, 1920. Ball’s work can be interpreted as an image, a play, a performance, a poem, a farce, a meaningless performance, a Babelian pastiche in state of postmodernity…I made a work about the problematic work that I turn problematic by making a difference. I call my work “Tango Ball (ade)” it was made in Gallery ID:I in Stockholm. The title alone demands a complete “traktatus”!But I, in my artistic intention, don’t have the heart to call it ”everything else”.
As artist I am interested in everything thats in an obstacle to the creative process. The factors can be both internal and external. Traumas can be both motivation and impediment, but also the ideologies, the fashions, the exclusions.   I working with a interdisciplinary project (art, philosophy, psychology) whose central axis is the resubjectivation, using my own body and my experience to delve into the labyrinths of the subject.
My objective is the creation of useful theoretical/practical tools in response to Foucault’s question that begins this text. The project moves in two general and simultaneous directions: Mediating Artifacts and Sediments

1- MEDIATING ARTIFACTS

 I observe the relationship between body, objects, concious and inconcious memories to study the effects on the body’s resubjectivity.

 

 

”The perception is about the things and the gap between things” 

Hans G.Gadamer.

 In performative art or art of action, whose motor is autopoiesis, which means the ability of a process to generate its own life, the performative is interrelated with the uniqueness of each body. The forms that acts take can never be separated from the background of singular experience already registered in the body. In ”The Words and the Things”, Foucault says: Heterotopias are disturbing, no doubt because they secretly undermine language, because they prevent naming this and that, because they break up common names or entangle them. ” What would be the results in image language, when the flow of knowledge  intersects with memories of the body?

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© Ana Maria Almada De Alvarez 2022