My body, a heterotopi* in transition
*”Heterotopias are worlds within worlds, mirroring and diskursive spaces that are intense, disturbing, incompatible, contradictory or transforming”. 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. ”
The art, the work, the artist
The field ”art” has a variety of more or less creative definitions. From being equated with a war machine created by a nomad (artist) who draws maps, reterritorializes, and desterritorializes to create lines of flight (Gilles Deleuze) to being a policy that distributes the visible (Jacques Ranciere).
The field has changed constantly since the ”Pharisees of modernism” whose elitist purpose was to create desire in the elegant and exclusive bourgeois classes by inventing the ”cultural elite” with the power to decide ”why yes and why not” something should be called art
But history, in its constant journey, united with problematizations, deconstructions and relativisms that, with simple maneuvers, began to topple some sacred stools.
Does art have a ”function”? If, against all odds, someone decided to risk an answer, would the ”disembodied machine” go on the counterattack and ask ”under what criteria is the function of art defined? We already know that a doubt is a bunch of speculative statements that in the ”art world” change form from time to time to drive the ”experts” to madness.
Art is everything from creative transformation, one-sided elements, dysfunctional tones, influencing factors, lines related to concepts, including chemical formulas and more.
The only role and function that art has is to be art ”everything else is everything else” as it has been said.
Together with my pretensions to be allowed to ”make art”, I have put a small stone in the shoes of culture , tath my self use to walk.
My best example may be the performative pastiche to ”The Unknown Soldier” by Hugo Ball, 1920. Ball’s work which has been interpreted as a picture, a play, a performance, a poem, a farce, a meaningless performance, etc, etc.
I added new ”problems” to ”the problematic work” to continue to make a difference in repetition.
I called my work ”Tango Ball (ade)” and it was presented in Gallery ID: I in Stockholm (only the title of the work requires a complete ”treaty”).
But the artist in me does not have the heart to call it ”everything else”. As an artist, I am interested in everything that is an obstacle to the creative process. It can be internal and / or external: Trauma, teories, ideologies, fashion, exclusion, canon…name it.
I work throught an interdisciplinary project (art, philosophy, psychology) whose central axis is the process of re-subjectivation.
I use my body and experience as material, design and guidance for immersing myself in the labyrinths of the subject with the aim of creating useful existential tools.
It may be my temporary answer to Foucault’s question with which I begin this text, until I discover something else more interesting in my journey.
1- MEDIATING ARTIFACTS
About the relation ship between objects, memory and perception
”Ananke” Tobo Kulturhus-2022
© Ana Maria Almada De Alvarez 2022