Texto “IN PROCESS” publicado en la segunda edición del periódico EL RANCHITO-MATADERO MADRID
In Process
By Luisa Fuentes Guaza
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(From the Latin processus). Action of moving forward. Everything starts from a place where certainties are not discerned and where expectations start to gestate – “the greater certainty sought to determine a particle’s position, the less the quantity of linear movement, and thus speed, is known” (Heisenberg’s Uncertainty Relations, or the Uncertainty Principle). We are faced here with an action that only moves forward. A process is activated.
These features of quantum physics can be extrapolated to the mechanisms that activate the processes of artistic creation. Uncertainty, unsureness and indetermination: an indispensable starting point for us to delve into the ‘trip’ that initiating a process of artistic creation, investigation and experimentation entails, where the expectations generated may not reach any goal.
We see how process-related aspects are part of biological evolution (arty-endosimbiosis), where a series of transformations and changes brew, originating in the multi-headed focus of the initial project’s lines of development.
“Our visual language is in constant evolution and expansion: we see what we know” (Bruno Munari).
Process-related aspects create three types of spaces that are generating many possibilities to enrich the development and experimentation of the project itself.
First, we have a relational space. “A space where new forms of life and models of action face off within the existing reality” (Bourriaud, 1996), which generate micro-situations that are hardly distinguishable from those of everyday life and act as the seeds of possible lines of action and exploration. “Within processes of artistic creation, the existence of the relational demonstrates our current age, when globalisation and networks of dependence blur, leading often rather confusedly to a hetero-referenced identity project” (Bauman, 2006). The handicap of the relational is that it generates too many variables that must be added to the equation in order to solve the artistic process. Local and global intermix, not acting like facilitators of the process. In this part of the process, the artist would have to redirect our attention more towards the ‘domestic’ – “where the ‘domestic’ meant the dense network of rights and mutual obligations upheld by rural and urban communities, by parishes or by artisan guilds in which families and neighbours had been closely involved” (Max Weber, 1903), faced with global information where homogenisation directly assaults the heterogeneity and diversification that artistic processes seek out.
Second, the process generates a space for opportunity and activation.
This is where experimentation with new formulas is performed, activating the trial-and-error method where the end is not the creation of results, but rather the generation of a structural axis for the project, which allows pursuit of the lines of investigation. “This space turns into a terrain susceptible to subjectivity and exploration” (Dan Graham, Art in Relation to Architecture/ Architecture in Relation to Art,), as well as a multi-focus and exponential platform.
Finally, we can identify a cross-cutting border area within the process.
This border aspect opens the possibility of making trans-disciplinarity effective (as part of a process to transform post-modern thought, which leads us to growth of the knowledge that makes all global perspectives impossible), placing the artist before many possible formalisations. “There is no single format; heterogeneity forces a mixture of disciplines” (Vito Acconchi, Casa en la pared de un edificio, 1996).
We see how process-related artistic creation is amplified, and the creation of these spaces throughout the process has consequences that enrich both the project and the artist’s very development. Transformation and diversification, the ramification of production, the multiplication of possibilities for action, reactivation of the meaning of the work, the multiplicity of the real, rhizomatic production or hybridisation among the expectations raised and external factors become benefits of activating process-related aspects.
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