My work is involved within notions as impermanence, change, human energies, detachment and natural entities, as materials that can trigger users, situations and spaces, a kinship with their own experience of the body and its levels of sensitivity. I am interested in the manufacturing of time through the sense of touch and the sound as a political material and in its conditions of incommensurability and being borderless. I make use of sources as performance and compositions that allow spectators to get involved in experiences which guide their time perception into struggles, practices and unique occasions of exhaustment, emergency and cycles. Lately my gaze shifted to interactive performance experiences, where through objects, discursive strategies and sound, users engage in action with the space and the guiding lines. This approach goes along with a wider understanding of the public and its involvement which you can see in my artistic projects. All my projects usually involve a research based outcome, they are deeply connected to the investigation, where there is usually a publication or essay which becomes material for speculation and experimentation, to finally configure a solid self standing situation, apparition or composition. If you have any question or just want to talk, write me! P.
Personal Space
Performatic publication for a library
2019
Personal space consists of a questionnaire that triggers the creation of a personal collection using the material found in the library. The work encourages visitors to move around the space looking for books, films or audio works to answer the questions proposed by the artist, questions that do not relate to thoughts, but sensations.
In this way, the publications serve as a means of building and maintaining personal bonds and representations within a broader context.
Exhibition pictures and text ‧ How can we know in such a brightness ‧ By: Agustina Andreoletti
This is a work expose the borders of consent and politics of touch.
How do I approach others?
What does it mean to get a gift?
How does one reflect on its privilege? Which are the conditions of aliens?
Through instructions visitors experience what are the blurry borders of consent on a staged performance, a sort of fundamental confidence on the safety of artistic experiences.
A dominance as the one emulated by the borders systems, the machinery of the nation states and the encounter with an alien and the estrangement that it brings is how this performance confronts its participants.
