In
collaboration with Francisco Galán
Views of the work in Sancovsky Gallery, São Paulo, 2016
Photographs > series of 09 inkjet prints on photographic paper (20 x 30 cm each)
Views of the work in Sancovsky Gallery, São Paulo, 2016
Photographs > series of 09 inkjet prints on photographic paper (20 x 30 cm each)
By using an antenna, exit language and meaning. By using a
knob, generate a new generation. These were the directives of the investigative
work I presented at the exhibition of the Programa de Artistas Di Tella
in Buenos Aires, 2014.
Taking the contingency of my own admission in the programme as a starting point, I proposed the creation of an alternative method for the selection of candidates, one which could replace the arbitrary nature of every selection process (choice) for the purity of chance (non-choice). And consequently produce, randomly, other generations of artists and curators alongside those who were officially admitted.
For this purpose, I organized an expedition in search of the only known phenomenon which appears to not comply with any form of pattern: the so-called "white noise", a random frequency resulting of the sum of multiple low intensity interferences (atmospheric and electromagnetic signals, static electricity etc.).
The whole process also involved the creation of a homemade device made of transistors, resistors and capacitors connected to a copper bar in order to capture this frequency which can only be found pure in nature, and a computer programme for the interpretation of the input data, automatically conforming it to the administrative requirements of the institution, creating thus over 550 alternative lists of chosen candidates for the ‘Programa’ in that year.
How many generations are possible in one single year? Beyond a criticism to a particular selection system, or an abstract debate about chance as a form of suspension of judgment, this was an actual attempt to use institutional legitimization in the creation of new possible records.
Taking the contingency of my own admission in the programme as a starting point, I proposed the creation of an alternative method for the selection of candidates, one which could replace the arbitrary nature of every selection process (choice) for the purity of chance (non-choice). And consequently produce, randomly, other generations of artists and curators alongside those who were officially admitted.
For this purpose, I organized an expedition in search of the only known phenomenon which appears to not comply with any form of pattern: the so-called "white noise", a random frequency resulting of the sum of multiple low intensity interferences (atmospheric and electromagnetic signals, static electricity etc.).
The whole process also involved the creation of a homemade device made of transistors, resistors and capacitors connected to a copper bar in order to capture this frequency which can only be found pure in nature, and a computer programme for the interpretation of the input data, automatically conforming it to the administrative requirements of the institution, creating thus over 550 alternative lists of chosen candidates for the ‘Programa’ in that year.
How many generations are possible in one single year? Beyond a criticism to a particular selection system, or an abstract debate about chance as a form of suspension of judgment, this was an actual attempt to use institutional legitimization in the creation of new possible records.
Photograph
> 01 inkjet print on cotton paper (100 x 66.5 cm)
Views of the installation in the gallery of Universidade Torcuato Di Tella, Buenos Aires, 2014
> adhesive vinyl, photographs in varied quantities and sizes, copper antenna and analogue receiver, a computer software, speaker with static noises and several documents (total variable dimensions)
> adhesive vinyl, photographs in varied quantities and sizes, copper antenna and analogue receiver, a computer software, speaker with static noises and several documents (total variable dimensions)