Documento Word (Sobre la escritura-2.docx)
Páginas 11. Palabras 1.700. Caracteres (sin espacios) 9.039. Caracteres (con espacios) 10.601.
Párrafos 159. Líneas 296. Fotografías 10. Página 11.
Interprete: Elizabeth Casasola (Doctorando en Artes y Diseño -F AD. UNAM-).
Partitura de la ocurrencia:
10:00h Solicitar a un/a crítico/a, historiador/a, etc., de arte, que colabore conmigo en la interpretación de esta ocurrencia. Lo que le solicitaré es un texto. Por dicho texto se le remunerará, lo que suela cobrar por un texto crítico para una galería de arte, o una/un artista. El tema del texto podrá ser sobre mi trabajo, sobre esta ocurrencia, o sobre cualquier otra cosa. La libertad en esta petición, pretende ser la mayor posible, si es que se puede hablar de libertad cuando de cumplir un encargo se trata. El texto resultante en su formato original, sea este escrito a mano sobre papel, impreso, o en un documento electrónico, será la parte visible de la interpretación de esta ocurrencia.
Título: Interpretación libre por encargo de un texto.
Técnica: Texto de (nombre de la persona que lo escriba).
Ocurrencia surgida durante la lectura del libro: La fenomenología de la percepción. Maurice Merleau-Ponty: Planeta-Agostini, 1993.
Ya finalizando el taller, y después de hablar mucho y conocer la formación académica de Eli, decidí solicitarle un texto crítico, para la publicación que teníamos previsto preparar con los resultados o registros del taller y la exposición en Nadie, Nunca, Nada, No. En un principio no se lo plantee como la interpretación de una ocurrencia, aunque sí que le di total libertad a la hora de componer el texto. El 7 de noviembre me mando un avance, con algunas preguntas y el 14 de noviembre me mandó el texto pidiéndome mi parecer, yo le respondí a su correo electrónico: Me envías el texto, y me preguntas por mi opinión. Ya te dije que mi opinión poco cuenta, y que menos me gustaría que coartara tu libertad. A propuesta mía, tú aceptaste aportar un texto para la publicación del taller. Yo te di total libertad. En tu anterior correo me enviaste un avance del texto y me preguntabas por ideas que te pudiera comentar para mejorarlo. En respuesta a ello te mande la partitura de la ocurrencia: Interpretación libre por encargo de un texto. Y también te dije que me gustaba mucho como lo planteabas. El texto ampliado y entiendo que ya concluido, que me mandas, es ya la interpretación de dicha ocurrencia, ¿no? Pues es ya de lo que se trata. El texto me gusta, me reconozco en él, y te reconozco a ti en él. La última parte, que subtitulas: La escritura para desmontar la(s) historia(s), es un tanto desconcertante, más creativa, incluso participativa. También me gusta. La interpretación de la ocurrencia también admitía, una vez aceptado el encargo, la no realización de ningún texto, o la interpretación que fuese, de un texto, por parte de la persona en cuestión. Acuérdate, como os comentaba durante el taller, de esa cosa que a mi, como artista, me produce el encargo de una obra, por parte de un tercero, en confrontación con los trabajos de Goya en la Quinta del Sordo. De eso va esta ocurrencia, pero también de la especificidad de los medios (Clement Greenberg), de la pertinencia de la crítica hoy, etc. A lo que Eli me contesta: Ah bueno! Es un decir… ya está terminado me parece :). Después de este correo, yo le escribo el mismo día: Le estoy dando vueltas a una cosa de la que no hemos hablado, un asunto que en la partitura se contempla, es la cuestión de la remuneración. He imaginado que aún no habrías cobrado por escribir un texto, y por ello no te había preguntado por tu caché. Pero sea o no cierta mi suposición, no me parece correcto no preguntártelo. O sea que, ¿quieres recibir remuneración por el texto? A lo que Eli me responde: Pues de la remuneración, pues casi nunca porque de hecho no nos dejan cobrar cuando estamos en el doctorado o en la maestría, se supone que todas las actividades que hiciera tienen que ver con mi proyecto también, a mi me da un poco lo mismo porque ya estoy acostumbrada a que no porque incluso nos hacen darnos de baja o pausa de hacienda.
Word Document (About the writing-2.docx)
Pages 11. W ords 1,700. Characters (without spaces) 9,039. Characters (with spaces) 10,601.
Paragraphs 159. Lines 296. Photographs 10. Page 11.
Interpreter: Elizabeth Casasola (Ph. Arts and Design -F AD. UNAM-).
Score of the “ocurrencia”:
10:00h Asking an art critic, historian, etc., to collaborate with me in the interpretation of this “ocurrencia”. I will ask him/her for a text. For this text you will be paid what you usually charge for a critical text for an art gallery or an artist. The subject of the text can be about my work, about this “ocurrencia”, or about anything else. The freedom in this request is intended to be the greatest possible, if it is possible to speak of freedom when it comes to fulfilling a commission is concerned. The resulting text in its original format, whether it is handwritten on paper, printed, or in an electronic document, will be the visible part of the electronic document, will be the visible part of the interpretation of this “ocurrencia”.
Title: Free interpretation of a commissioned text.
Technique: Text by (name of the person who writes it).
“Ocurrencia” arising during the reading of the book: The Phenomenology of Perception. Maurice Merleau-Ponty: Planeta-Agostini, 1993.
At the end of the workshop, and after talking a lot and getting to know Eli’s academic background, I decided to ask him for a critical text for the workshop to ask her for a critical text, for the publication that we were planning to prepare with the results or records of the workshop and the exhibition at records of the workshop and the exhibition at NNNN . Initially, I did not approach it as an interpretation of an “ocurrencia”, although I did give her total freedom in composing the text. On 7 November she sent me a preview, with some questions, and on 14 November she sent me the text and asked me for my opinion. I replied to her e-mail: “You send me the text and ask me for my opinion. I already told you that my opinion counts for little, and that I would not want it to restrict your freedom. At my suggestion you agreed to contribute a text for the publication of the workshop. I gave you complete freedom. In your previous you sent me a preview of the text and asked me for ideas on how It could be improved. In response, I sent you the score of the “ocurrencia”: Free interpretation on request of a text. And I also told you that I really liked the way you approached it. The extended text, which I understand that you are sending me is already the interpretation of that “occurrencia”, isn’t it? Well, it is already what it’s all about. I like the text, I recognise myself in it, and I recognise you in it. The last part, which you subtitle: Writing to dismantle the story(s), is somewhat disconcerting, more creative, even participatory. I also like it. The interpretation of the “occurrencia” also admitted, once the assignment was accepted the assignment, the non-production of any text, or any interpretation of a text, by the person in question. Remember, as I mentioned to you during the workshop, that thing that for me, as an artist, the commissioning of a work by a third party, in confrontation with Goya’s works in the Quinta del Sordo. That’s what this “ocurrencia” is all about, but also about the specificity of the media (Clement Greenberg), the relevance of criticism today, and so on. To which Eli answers me: Ah Well! It’s a way of saying… I think it’s already finished :). After this email, I write to her on the same day: I’m thinking about something that we haven’t talked about, a matter that is contemplated in the score, is the question of remuneration. I have imagined that you have not yet been paid for writing a text, and therefore you have not a text, and that’s why I hadn’t asked you about your caché. But whether or not my assumption is true, it doesn’t seem right not to ask you. It doesn’t seem right not to ask you. So, do you want to be paid for the text? To which Eli replies: “Well, I hardly ever get paid, because in fact they don’t let us get paid when we’re in the doctorate or master’s degree, it’s assumed that all the activities I do have to do with my project as well. I don’t mind because I’m used to not being paid, because they even make us leave or take a break from the finance tax.
Why couldn’t it be summed up all solely in knowing who is frequent?
I must confess that this last term confuses me,
so that makes me admit that among some beings and I
more peculiar relationships are established,
more inevitable, more disturbing than you could imagine.
Andrew Breton. Nadja.
… so, talking is always somehow
he speaks of a stranger through oneself and as a self,
the melancholic reiteration of a language that one never chose,
that one does not consider an instrument that he wanted to expand,
but that same persona is used, expropriated,
by saying it somehow,
as the instable and continuous condition of the one and the we
Judith Butler. Bodies that matter.
Naming, exposing our relationships from language, writing as a way of testifying and documenting the luminous sparks. That afternoon in the Taller Interpretación Colectiva (Collective Interpretation Workshop) of Rafa Sendín in Nadie (No one/ nobody) Nunca (Never) Nada (Nothing/anything) No showed several of his projects, but perhaps I found in his writing what is also mine. In Consanguinidad (Consanguinity/Inbreeding), where 25c of blood is extracted and to which anticoagulant is added, he writes, sells his blood on paper sheets Moulin du Roy/Canson names of artists; each name, each one each person responds to the link with his work.
In this way, he certifies the affinity with Marina Abramović, Janine Antoni, Diane Arbus, Louise Bourgeois, Tania Bruguera, Francesca Woodman, Clause Cahun, Camill Claudel, Lygia Clark, Tracey Emin, Julia Espínola, Valie Export, Esther Ferrer, Andrea Fraser, Coco Fusco, Regina José Galindo, Dora García, Nan Goldin, Renée Green, Eva Hesse, Nancy Holt, Frida Kahlo, Yayoi Kusama, Barbara Kruger, Louise Lawler, Zoe Leonard, Sherrie Levine, Vivian Maier, Teresa Margolles, Ana Mendieta , Fina Miralles, Alice Neel, Itziar Okariz, Yoko Ono, Meret Oppenhein, Lotty Rosenfeld, Martha Rosler, Angeles Santos Torroella, Cindy Sherman, Laurie Simmons, Taryn Simon, Jo Spence, Carolee Schneemann, Gillian Wearing, Hannah Wilke, Emma Wolukau- Wanambwa and Unica Zürn.
Rafa Sendin, Consanguinidad (Consanguinity/ Inbreeding) (2,11), 2018. Blood on paper Moulin du Roy/Canson 30 x 40 cm
The way of referring to them, and above all that that action will nominate only to women artists, I have to accept the brainwave or score of Rafa Sendín, the interpretation of the piece Telediario (TV news); where should the iphone text dictating application be connected to transcribe the TV news, for example the one from Tele5, with ads included, once finished; the resulting text will be the subliminal meaning of the occurrence. The idea had come up consulting the work of Gretchen Bender, So Much Deathless, exhibited at the New York gallery Metro Picture. In the image you can see a monitor that emits Fox News and above is the text Narcotic of Surrealism. I asked Rafa if it was possible to do the piece but not from the application, I wanted to do it by typing the complete TV news and if this could be a Mexican program, which was common to me. He accepted
The action on the ground recalled my step through the mecanography workshop in the secondary school, an institute for women where basic and only technique was taught in taquimecanography as a job for the possible future, as an aggregate there was art, which included dancing, a way of have knowledge a little broader to talk with other women while the spouses talk about business. The task of mecanography, of making the document that was dictated by the other, was a work subordinated to the women and appropriating, reappropriating, their destiny.
Writing machine. National Library of Spain during the exhibition Clara Campoamor Rodríguez: woman and citizen (1888-1972)
Those classes were my first approach to art on the ground, it was also the one that made it easier for me to write despite breaking my fingers on two occasions during the three years at the institute. It was also an approximation to the class at the university, of means of communication; where I wrote the bullets each week at night, alongside the TV news. We appropriated the TV news, of what those repeated with their voice that others had also written, and that I returned from new to text, a soporific, stupor that could come from this activity.
However, somehow my blood was inscribed in the same action, the same pain in the back and hands that suffered with the huge writing machine that one, with the night bullet, the same as the blood of Rafa Sendín initials the name of your relationship with the artists.
Rafa Sendín. Telediario (TV news). Interpretation Elizabeth Casasola. 2022. Evening TV news, Channel 6, Mexico City, Mexico, Monday 3 October 2022. 12 A4 sheets.
Inscribing my story was the event that Rafa Sendín had given me without knowing it, it seems so different and left in the hands of Raúl Muñoz where he wrote his autobiography. But beyond the narcotics of surrealism that were close to the piece, the sleepiness that can generate an activity such as the repetition of documents, of transcribing what the other says and what one wants to say. Repeating the speech of that stranger. That stranger that you end up feeling in each letter, in each word and space that is pressed. The way in which you find yourself so close to the one who before joining NNNN was unknown to me but his work appealed to me. To very soon have the ability to share and see how he himself inscribes his body and his movement in the pieces he presents.
On the piece Algunos Colores (Some Colours) by Rafa Sendín puts his body on it, takes it off to inscribe it elsewhere, seven enamel paint buttons, the colours; right leg, left leg, right arm, left arm, back and face. Return the body to other substances more than the same ones that produce the body. The other, the abject, an almost alien substance. The event, stemming from the action of William Pope, an artist who reflects on blackness and in this rehearsed performance, drags himself along the streets of New York, his body is subjected to another position where he approaches the environment, the environment that has been designed by the others. Perhaps for itself, and it comes close to it, what one runs away from. The action of Sendín, is to produce more of your body, more substances, which could be considered consequences, but whenever the producer is a white Western male, the political aspect of the action could be blurred at first glance by the same vision we are used to.
As in other pieces, the artist collaborates, in this case with the dependents of the Papelhogar store, a woman who will take notes on the colour codes and a man who will take care of the colorimeter and calibrate before each new measurement. and a man who will take care of the colorimeter and calibrate before each new measurement. Perhaps the collaborative character points to the performance policy.
Marca Blanca inserted a change of name at the time, since in principle it would be called The Friendliest of Colours Artist in Europe, about blackness; however, she considered that it would be misinterpreted and at the last minute the title was dropped, though; many of the occurrences, scores by Rafa Sendín are linked, in some of them the confession of all kinds of subaltern adjectives is planted, identifying themselves as belonging to all races, genders, and the search for a genealogical study to know if they belong to some ethnicity and reaffirm yourself part of it.
Rafa Sendín. Algunos Colores (Some Colours) by Rafa Sendín. 2022. Base acrylic facades 100% 750ml
The scripture, writing, inscribing is the action that the body in the performance produces the tension between the subject and the space. In Sendín’s pieces, the others always write, are inscribed, document, verify and certify. The scripture, the body to disassemble the story(ies).
Autarquía (Autarchy), though, reminds us so much of Carl André’s Hollow Square. The desolate space that Rafa Sendín creates in this piece in which he remains inside for an hour, finally it is only the body that is inside, but his voice, that of us, our images and even the mobile goes behind the frontier of blocks concrete, if the apparent imposed system is broken, on the ground here; bell from the moment of its creation. The score, let’s remember; it is a process that is written by a relationship that the artist finds in others, in a series of notebooks with background knowledge. And so, without counting on the contribution of the strength of work of Ramón, Blanca, Raúl and myself in the construction of that wall. Building walls, borders, differences is a normalized action in our time, and despite the consequences that this implies in illegal migration, we cannot omit our relationships or dependencies.
Rafa Sendín. Autarquía (Autarchy). 2022. 72 blocks of smooth grey hollow concrete (0.40 x 0.20 x 0.20 m). Exterior: 100 x 100 x 180 (interior hole 0.60 x 0.60 m).
As much as the space wants to remain alien, the territory belongs to the world, unlike the Magnesium Copper Plain piece, also by Carl André; where the traces of the others are not visible, even in a state of neatness, Rafa Sendin understands the territory as the Support of the bodies of the others and the surface is delineated, inscribed, circumscribed by Sendín’s goddaughter, an action that he writes the future.
Rafa Sendín Soporte (Support). 2022. A4 paper (216 folios) 378 x 356 cm
|Condemned of the earth||Young|
|Does not belong|