Author ········· Edgar Allan Poe
Medium ········· Print
Published ······ July 1845
Language ······· English
Medium ········· Print
Published ······ July 1845
Language ······· English
The Noise, The Traces, And The Marks
LOCAL Arte Contemporáneo
Santiago de Chile, CL
29.05. – 03.07.2015
Text:
THE NOISE, THE TRACES AND THE MARKS, enhances the value given to what is left over from movement, it is the effort to look with affection at what remains as the inevitable trail when occupying spaces with a certain intensity, of occupying the city through hard and rough movement. To scrape, to live with friction. There are times when habitual dialogues between containers and contents are replaced with ones that generate encounters a little more intense and aggressive, merely functional kindness is replaced by enthusiasm for the movement and displacement as radical forces, objects in themselves.
This impetus to slightly transform the utilitarian for what is pleasant generates friction which in turn produces traces, residue, marks, hardness, which are the cost of establishing fast relationships that reconfigure the medium. All friction hurts something. What is it that makes us detest the wounds? That they hurt? That they don't establish a relationship of symmetry or order with their environment? Do they hurt us more in the skin or in the gaze? There are lifestyles that even legitimize the injury as an element of customisation of the appearance to account, visually, about issues of emotional and political nature. Order clearly won the struggle against disorder for the aesthetic hegemony of the personification of good, but what do the dissidents of the correct do? Probably wear jeans with cutout knees, a worn shirt, a tattoo. Assuming the injury is taking the hardness of things when scraped, but also traces of a speed of living in which the passionate collisions are inevitable.
Skate is one of those practices that reconfigures the city from its functional structural dimension as a way of adapting it to assume it as a testing ground, as an anatomy for swift movement on a board with wheels. Rails become slideable, stairs jumpable, everything is ready to be an obstacle. But as other practices of friction, skate is stigmatized; is it because of the traces, the noise, the hairstyles, the youth and the practice of habitability almost outside the norm? Herds of young people making noise against the ground as they move, it sounds like a TV on a channel with no signal, some kind of anomaly that is based on the possibility of living the common and public spaces from a transgressive look, rebellious regarding the functionality, structures and applications.
THE NOISE, THE TRACES AND THE MARKS is the space for the manifestation of this anomaly, of friction as a valuable gesture, a drawing, a brand, an index. LOCAL will become the container that holds these strokes, gestures produced by friction when skating. The artist used the interior architecture of the gallery as a field of obstacles and habitat for the skateboard. Thus the traces of his action (to skate) were recorded (as the wound) on the walls and floor.
That way, LOCAL is like a box, a makeshift container, designed to be taken care of, displayed and it's ephemeral records contained. Records which are the result of living spaces from a fast and rough will, like skaters do.
– Javier González Pesce
Exhibition views:
This impetus to slightly transform the utilitarian for what is pleasant generates friction which in turn produces traces, residue, marks, hardness, which are the cost of establishing fast relationships that reconfigure the medium. All friction hurts something. What is it that makes us detest the wounds? That they hurt? That they don't establish a relationship of symmetry or order with their environment? Do they hurt us more in the skin or in the gaze? There are lifestyles that even legitimize the injury as an element of customisation of the appearance to account, visually, about issues of emotional and political nature. Order clearly won the struggle against disorder for the aesthetic hegemony of the personification of good, but what do the dissidents of the correct do? Probably wear jeans with cutout knees, a worn shirt, a tattoo. Assuming the injury is taking the hardness of things when scraped, but also traces of a speed of living in which the passionate collisions are inevitable.
Skate is one of those practices that reconfigures the city from its functional structural dimension as a way of adapting it to assume it as a testing ground, as an anatomy for swift movement on a board with wheels. Rails become slideable, stairs jumpable, everything is ready to be an obstacle. But as other practices of friction, skate is stigmatized; is it because of the traces, the noise, the hairstyles, the youth and the practice of habitability almost outside the norm? Herds of young people making noise against the ground as they move, it sounds like a TV on a channel with no signal, some kind of anomaly that is based on the possibility of living the common and public spaces from a transgressive look, rebellious regarding the functionality, structures and applications.
THE NOISE, THE TRACES AND THE MARKS is the space for the manifestation of this anomaly, of friction as a valuable gesture, a drawing, a brand, an index. LOCAL will become the container that holds these strokes, gestures produced by friction when skating. The artist used the interior architecture of the gallery as a field of obstacles and habitat for the skateboard. Thus the traces of his action (to skate) were recorded (as the wound) on the walls and floor.
That way, LOCAL is like a box, a makeshift container, designed to be taken care of, displayed and it's ephemeral records contained. Records which are the result of living spaces from a fast and rough will, like skaters do.
– Javier González Pesce
Exhibition views:
