Five Invsible Haikus

This project was developed at InSite Casa Gallina in the neighbourhood of Santa Maria de la Riviera in Mexico City. For a period of 2 and a half years I collaborated with Ian Pasaran, a 33 year old blind man who worked, back then, in ProCiegos; an Institute for blind people in Mexico City. This public institute, provides all sorts of workshops and simultaneously acts as a meeting place. Back then Ian, worked in the store of Pro Ciegos were I met him. Ian, also works (now and then) in a company that hires him to evaluate food. He is a sensorial evaluator. The company he works at, trained him so he could taste and evaluate food products before they reach a mass market. Knowing this, I invited Ian to translate 5 abstract sensations into flavours. These 5 abstractions were: light, distance, space, time and affection. He agreed to collaborate with me.
We contacted a company called Bell that specialises in creating flavours to help us in the task. Ian meet with Bell´s team numerous times until the 5 flavours were created. This 5 flavours were made into candies. Once the candies were ready, we (me and Ian) decided it could be interesting to created sculptures inspired by consuming these candies. It was a game, a possibility of playing with clay and making shapes as we tasted the candy and spend time together. We were not sure were this was going, but, since we really liked the result, we decided to make this abstract shapes into bronce. The 5 candies had a shape now. I was really interested in erasing the visual image out of these shapes by creating a horizontal experience equal to all audiences, visual and non visual. So, I decided to create boxes were only the one hand could reach the bronce shapes and touch them. Fingers are eyes too. The tongue is an eye too. (Looking back, this work was inspired by Antonie Saint-Exupery. In The Little Prince, he draws a box so the little prince could visualice inside this box, his own lamb. I think this is a work about making your own artwork).
We showed the boxes with a little bag filled with the candy that inspired the shape. These 5 boxes were showed at Pro Ciegos patio for a week at regular hours. People from the neighbourhood were invited to try them. We had 3 blind volunteers that guided visitors to the boxes explaining the genesis of the work and why the candy and the shape inside the boxes. Visitors were free to make their own conclusion regarding which of the 5 concepts belonged to each of the boxes. The shapes inside will never be seen or photographed.

 

Into Ourselves

Der TANK
Art Institute FHNW Academy of Art and Design
CH-4002 Basel
Switzerland 

Click here to see full exhibition

I love the first lines of Gustav Metzger’s manifesto Auto-Destructive Art (1960):
 
Man In Regent Street is auto-destructive.
Rockets, nuclear weapons, are auto-destructive.
Auto-destructive art.
The drop drop dropping of HH bombs.
Not interested in ruins, (the picturesque)
Auto-destructive art re-enacts the obsession with destruction, the pummeling to which individuals and masses are subjected.

I really think Gustav Metzger already knew about the holographic principle, a very complex theory that, in a radical simplification, states that the cosmos does not destroy its own information. As far as quantum mechanics is concerned, information about states is never destroyed. According to Leonard Susskind, “all we know about physics would fall apart if information is lost.”  So, no destruction is possible. This can be read in so many non-quantum ways, but we could claim it as very good news, since it is an invitation to stop trying to destroy, and this invitation does not come from a well-intended soul, but from the universe! However, we all know that the ways things go are far more complex in the precarious minds of humans. Therefore, Eduardo Navarro begins his opening with a soup, a soup for all those attending the opening on Friday, the November 10, from 6pm on. In the soup there is art: because he has been making edible art, and some of it will end up in the soup. Since destruction is not an option, transformation, digestion, and joy are at stake in this new project consisting of a large series of edible drawings. This very simple gesture of drawing on material that is compatible with our guts completely challenges any cry for immaterial art. Thinking about the power of the market, and the aggressiveness against complex thinking, art, and artists, the idea of not destroying but metabolizing art seems like an important proposal. It already expresses the end of the sweet years of bourgeois culture. We are now in a post-capital stage that makes it impossible, or very difficult, to know what can challenge the current situation, what can create a possible difference-to-capital. So eating art, making it part of our system, is a way to address the importance of radically transforming ourselves and of being ready to do, to name, to imagine a space for a different connectivity among humans and non-humans and politics all together. Once in our stomach, art may do the part and help us. 

Curated by Chus Martínez
Curatorial assistance Simon Würsten

Letters to earth

Bronce walnuts with walnut meat inside. 60 1:1 replicates of real walnuts.
A group of 60 of these (time) capsules will be laying on the grass of Skulpture Park Cologne for 2 years. Once the exhibition is over the will be buried beginning a time journey.
These anonymous letters will eventually last up to 2000 years on earth.

KölnSkulptur 9
La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!
October 16, 2017–June 16, 2019
Curator Chus Martinez

 

In collaboration with the Sun 

continues Navarro’s interest in the conversation between celestial and terrestrial worlds. For this work, Navarro has constructed seven golden suits with mirrored masks and  geometrical mirrors for the hands to operate. They are worn by  dancers who will reflect the sunlight into the surrounding space, using the movements of their bodies as human sundials. Activations will take place towards the end of the day as the sun descends, and on a clear day, typically sets Reykjavik aglow—directly hitting the city on an angle as the earth spins away from its rays. As the exhibition takes place in the autumn-to-winter months, the duration of daylight will change dramatically from the beginning to end of the exhibition—from nearly eleven hours at the start of the show to a mere four hours twenty minutes at the end. While the movements of the performers are choreographed by the sun, the suits will also guide the sun’s movements as they reflect its light into the exhibition space and also confuse the boundaries between inside and outside, daylight and artificial light, our earthly bodies and solar forms.

Work: In collaboration with the Sun (2017).
Seven mirrored suits and solar synchronization; duration and dimensions variable. 
Venue: Kling & Bang Gallery, Reykjavík, Iceland
Sequences VIII Elastic Hours
Curated by Margot Norton

Hydrohexagrams (for Tahuata)

I invited the village of Hapatoni from the island of Tahuata in the French Polinesia to use the I-Ching in order to ask a group question concerning the village, but, instead of throwing the coins themselves, I invited them to use waves in the ocean to throw them. Their interpretation of the resulting oceanic hexagram was adapted to a ancient traditional song sang at the end of the video. The village used the ocean as a oracle. The I-Ching question asked by the village at the beginning of the video was: ¨Will the generosity and solidarity of our ancestors be transmitted to our future generations?¨ The enlarged I-Ching coins were casted in bronce, weight 20 kilos each and have hand made drawings. Six coins were made for this project, three of the coins stayed at the Hapatoni Artesian Museum to be use by the villagers and three coins are displayed when the video is showed. 

Work comissioned by TBA21 for the exhibition Tidalectics
Curated by Stefanie Hessler. 2017
June 2–November 19, 2017

Seventh Window

Seventh window is inspired by the Buddhist principle that the body has nine holes from which energy, matter and information travel inside and outside of it. These windows allow us to establish a connection with our surrounding world, transforming the body into a metaphoric temple. This optical gymnastics device allows the exploration of our own body, specifically the anus, the only place our human anatomy does not permit us to  observe. By using it, our own contemplation cycle becomes completes in a uroboro ritual were observer and the unobserved become one.