Investigación: Artistas relacionados con "Primer Proyecto"

Nasreen Mohamedi (Indian, 1937–1990). Untitled. c. 1970

Working in Bombay in the 1960s and 1970s after brief periods of study in London and

Paris, Mohamedi used line to create a plane of attention and awareness rather than a

representation. Unlike her Indian contemporaries, who worked primarily in a figurative

tradition, her methodically linear work is aligned with that of the Minimalist artists of the

period, although it differs in its relationship to the real: instead of employing a reduced,

geometric vocabulary, Mohamedi looked to the world outside the studio, mapping the

architectural and geometric forms around her—the serial parallel lines of the weaver’s

loom, for example, and the patterns of lines on a paved roadway.

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Daniel Toca

Me gusta pensar mi obra como un análisis estructural. Así de sencillo y así de ambiguo.

Lo qué analizo y cómo lo analizo varia de caso en caso, aunque viendo mi trabajo en

conjunto, lo que permanece entre obra y obra es un interés por diferentes productos

culturales, específicamente: cine y música. Los análisis que hago los hago, o los trato

de hacer, sin ningún a priori, es decir, a partir de una relación directa para con la obra

(según el sapo es la pedrada). De estos análisis esta construida mi obra, estos análisis

son mi obra.

Cuando la canción correcta suena en el momento adecuado, el momento y la canción

cambian: La canción se vuelve momento y el momento canción. No se podrá volver a

escuchar esa melodía sin recordar el instante en que fue escuchada; pero más

interesante que la memoria musical es que al sonar la canción, por algún extraño

fenómeno físico, la música penetra por entre los poros de las cosas para modificar su

estructura interna, como el grifo descompuesto que deja caer aleatoriamente una gota

de agua y rompe la aleatoriedad para hacer coincidir la caída de cada gota con el beat

de la canción que suena.

El conjunto de proposiciones escultóricas que presento es el mundo trastocado por la

música. Me interesa pensar ¿qué pasaría si el mundo estuviera ordenado a partir del

disco Let it Bleed de los Rolling Stones? Para responder esta pregunta hice una

traducción del disco con la que generé una serie de algoritmos, entendidos estos como

un conjunto preescrito de instrucciones bien definidas, ordenadas y finitas que permiten

realizar una escultura mediante pasos sucesivos. Los algoritmos hacen las veces de

partituras en las que están definidas la mayor cantidad de variables formales (peso,

volumen, ubicaciones, distancias, colores, precios, emplazamientos) que no generen

dudas a quien realice la escultura.

De esta manera el disco (y no hablo del objeto, sino de su contenido inmaterial) cobra

volumen; los sustantivos se vuelven objetos, lugares; los verbos acciones, y el resto de

las palabras definen la relación que hay entre ellos.

En la ejecución de la secuencia del algoritmo hay tres factores que provocan

variaciones en el resultado final de la escultura: El espacio, los objetos y el ejecutante.

El espacio entendido primero como la superficie misma de los objetos, después como

el lugar donde se construye la escultura y, por último, como el espacio de la ciudad que

determina el tipo de objetos que se adquirirán para formar la pieza.

Los objetos son los sustantivos que se mencionan en las canciones. Para acotar su

selección y tratar de escapar al gusto, he asignado un valor económico a cada uno de

ellos, complicando así su adquisición, tanto si se debe comprar algo con poco dinero,

como si se tiene que gastar una gran cantidad en un algo que normalmente es barato.

Dentro de la misma reflexión económica, me interesa realizar las piezas en diferentes

países con diferentes economías, ya que los precios de las monedas locales hacen

diferencias en la calidad de los materiales, pensando en el poder adquisitivo entre un

peso mexicano, un dólar americano, un dinar kuwaití o un shilling somalí.

Por último, el ejecutante es quien interpreta el algoritmo y completa los vacíos que hay

en él, eligiendo entre dos objetos del mismo precio o en el modo de construir la

estructura que ubique los objetos.

Los nueve algoritmos que traducen cada una de las nueve canciones del disco sirven

para construir y reconstruir las esculturas en diferentes espacios y, con ello, modificar el

espacio cotidiano de una estación de autobuses, la mesa de un restaurante o una caja

de pizza, cumpliendo la misión de la música que cuando suena bien “convierte lo

familiar en inestable, la comodidad de lo conocido en incertidumbre”.

To take a photo in the forest, but where in the forest, at what time, how to position the

camera, where to point the lens, and how wide to open the diaphragm? Almost half a

century ago, American conceptualists devised a series of strategies to answer these

questions escaping their own taste and sentimentalism; one of my favorite examples is

Duration Piece # 5 by Douglas Huebler, which consist of a series of ten black & white

photographs taken while Huebler stood in Central Park, each time he heard a bird

calling he pointed his camera in the direction of the call and took a photograph. Just like

sound was the detonator for Huebler’s piece, I wanted to find within the sound (of

music) a similar analogy by taking a photograph of the forest in Nida. I set out to find a

song through a Google search, that included the following words: Lithuania, Neringa,

Nida, Baltic Sea, Curonian Lagoon, forest, time, address and photograph, as well as

searching for them in three different languages, Spanish, English and Lithuanian. Of all

the songs that the search engine produced the one that contained the largest number of

the above variables was The Dark Forest, played by the extreme metal band named

Behemoth. I used the lyrics of the song like a codex that contained all the variables

involved in taking the photograph; I generated a system to interpret the codex and this

is the image. Taken at 00:33 hours, positioning the camera on the latitude and longitude

coordinates of 55.321136 and 21.011767, towards 160 ° S, at a height of 360.5 cm and

the aperture open to 14.

We all have certain songs in our musical memory that are impossible to separate from a

face, place or situation, songs function as an index that remind us of a time and place.

But what happens if instead of appealing to memory to locate a song, we create a

system that allows us to find the exact place and time in which the song should be

heard?

The Song Image Database allows its users to find the perfect geographical spot to listen

to a song, so that the user can go there, listen to it, and add a new meaning to the song

through the resulting experience. When we listen to music under specific circumstances

we generate a micronarrative; it is constructed while time passes, a sort of one shoot

music video derived from focusing at a single spot while listening to the song.

Fill the fields required (your name, the title of the song you want to localize and the

name of its composer/performer)

Search for the lyrics of the song and copy them on the indicated field or upload a mp3

file of the song.

Press the button and then the program will give you a day, an hour and a location, to

listen the song.

Go to the place and hear the song.

Take a picture to document your experience.

Upload your picture to create a database of images-song.

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McCollum’s family history, his experiences and training at working in industrial kitchens,

and his interest in theater and Fluxus, including “task-oriented” performance art, offered

him a unique take on labor and art, and the methods and systems of quantity-production

showed themselves in his artwork from the very beginning. He is known for utilizing the

methods of mass production in his work in many different ways, often creating

thousands of objects that, while produced in large quantity, are each unique. In 1988-91

he created over thirty thousand completely unique objects he titled Individual Works,

which were gathered and exhibited in collections of over ten thousand. The objects

were made by taking many dozens of rubber molds from common household objects—

like bottle caps, food containers, and kitchen tools—and combining plaster casts of

these parts in thousands of possible ways, never repeating a combination. In 1989, he

used a similar system to create thousands of handmade graphite pencil drawings, using

hundreds of plastic drafting templates he designed for this purpose, each drawing made

unique by combining the templates according to a combinatorial protocol that never

repeated itself.

Beginning in the early nineties, McCollum expanded his interests in quantity production

to include explorations into the ways regional communities give meaning to local

landmarks and geological oddities in establishing community identity, and collaborated

with a number of small towns and small historical museums in Europe and throughout

the United States, bringing attention to the way local narratives develop around objects

peculiar to geographic regions, and drawing comparisons to the way artworks develop

meaning in a parallel manner. Often these projects involved reproducing local objects in

quantity, or creating models or copies of local artifacts and symbols. In 1995, he

collaborated with the College of Eastern Utah Prehistoric Museum in Price, Utah, to

make replicas of their entire collection of dinosaur track casts, and exhibited these in

New York and throughout Europe; in 1997 he collaborated with the International Center

for Lightning Research and Testing in Starke, Florida, to trigger lightning with rockets,

and worked with a local souvenir manufacturer to create over 10,000 replicas of a

fulgurite created by the lightning strike; in 2000 he collaborated with the Pioneers

Museum in the desert community of Imperial Valley, California, to reproduce souvenir

copies and large models of their local mountain, Mount Signal, and the unique 'Sand

Spike' sand concretions found at its base; and in 2003, he created 120 topographical

models of the states of Missouri and Kansas, which he donated and delivered himself to

120 small historical society museums in both states.

In 2005, the artist designed The Shapes Project, a combinatorial system to produce "a

completely unique shape for every person on the planet, without repeating."[7] The

system involves organizing a basic vocabulary of 300 "parts" which can be combined in

over 30 billion different ways, created as "vector files" in a computer drawing program.

McCollum has used the system in collaborations with a community library,

schoolchildren, home craftworkers, writers, architects, and other artists, as the Shapes

are created to be used for many different kinds of projects, and so far have been

produced in the form of both prints and sculpture, in Plexiglas, Corian, plywood,

hardwoods, metals, rubber, and fabric, in a variety of sizes. In 2010, he published "The

Book of Shapes", in collaboration with mfc-michèle didier. This book makes the Shapes

Project complete : The first volume contains the 300 shapes "parts," and the second

one includes the guides and instructions for creating all possible combinations with

these components. That same year, he organized the Shapes for Hamilton project, in

which a unique signed and dated Shapes print was made for each of the 6,000+

residents of the town of Hamilton, New York.

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