TO/HERE. moving an insignificant signal. [mass performance + object exhibition + production registers].
Suplicantes [Supplicants] – historical and symbolic context
[Las Precolombinas] Pre- Columbian images known as the suplicantes, [see image 1], are archaeological pieces from the Argentine northwest that belong to the Low Formative and High Formative period [III to VII DC aprox.]. They are made in stone and show a curious combination of human and zoomorphic elements. In them, the repetition of a kneeling or genuflecting position or attitude is shown with arms and hands, placed on the back of the head [being the reason of their denomination].
The most relevant element in these pieces is their characteristic of exempt object; it is not possible to find in them, an implicit or explicit functionality, although there is an attempt to link them with magic-religious aspects of the Condorhuasi culture. As it is impossible to determine, the origin of its function, all interpretation is a hypothesis. We may say that these objects are a cultural surplus of an unknown process, it is a signal, with an unknown significance, but as it is still in use, we may call them a luxury.
Justification and procedures
The performing of this piece demands many operations, among them, the formal transfer of Pre- Columbian iconographic image, and the reproduction of its condition of exempt sculpture, the condition of signaling the place of location and, by means of its displacement, the performing of an urban intervention [development in progress] a mass performance.
This work acts in function of its placement and displacement: when placed, it causes a redistribution of the volumes in its environment; it shows the place where it has been set, and produces an irradiation of its sense. This arrangement of its sense is caused with an object which is an incognito. Far from saturating the sense of space in the place where it is set, [by summing and accumulating], it fulfills it with sense, in opposition to an empty object.
The aleatory moving of the pieces, that the visitors will attempt, constitute a mass performance, and it is in an action, that agrees with the exhibition of the production process and its remnants, an ephemeral reproduction of the sense order in each place, where it is taken to circulate. Under the title “bring it back”, visitors receive commands, as ambiguous as the meaning of the object. As there is no parameter of the command, there is freedom of action, but there is an obligation to provide a sense.
TO/HERE, is a material modification, to lodge the loss of significance, turning the art object into a subject of curiosity and intrigue that compulses to put a limit to the space of the unknown.
Paula Massarutti
PRODUCTION – the development of this project has three stages.
First stage – production of the objects Violet balloons will be provided. They will be the reproduction of the Supplicant’s image [see image 1]. A figure of approximately 6 metres high, and around 500 balloons of 90 cm. high, will be performed. This stage includes the investigation on the behaviour of materials [PVC and Helium] and desings. The set up of the objects [balloons].
Second stage – design of the set up, exposure and register of the exhibition Tests of the set up will be made, and also a distribution of the floating pieces, in the inside of the building. Wireless Web Cameras will be placed, in different areas. They will be connected to a computer that will store the images of the performance.
- A – opening event.
Third stage – mass performance A calendar of events will be provided. This will give the viewers the possibility to interact with the balloons, the proposal being “bring it back”. This will generate a movement of these objects in the space, in a free way. Choreographic performances are not expected. This will be a pure experimentation based on the circulation of objects.
Paula Massarutti
Image 1 Number of catalogue: Schmidt Nº 6188 Precedence: Andalgadá (Catamarca) Size: 20, 3 cm. x 7, 5 cm. x 15 cm. Material: glimmerítica stone. Corpus Antiquitatum Americanensium, The “supplicants” of the La Plata Museum. Rodolfo Raffino, Anahí Iácona, Victoria García Montes. Historical National Academy Editions. B. A. 1997.
TO/HERE. moving an insignificant signal. [mass performance + object exhibition + production registers].
Suplicantes [Supplicants] – historical and symbolic context
[Las Precolombinas] Pre- Columbian images known as the suplicantes, [see image 1], are archaeological pieces from the Argentine northwest that belong to the Low Formative and High Formative period [III to VII DC aprox.]. They are made in stone and show a curious combination of human and zoomorphic elements. In them, the repetition of a kneeling or genuflecting position or attitude is shown with arms and hands, placed on the back of the head [being the reason of their denomination].
The most relevant element in these pieces is their characteristic of exempt object; it is not possible to find in them, an implicit or explicit functionality, although there is an attempt to link them with magic-religious aspects of the Condorhuasi culture. As it is impossible to determine, the origin of its function, all interpretation is a hypothesis. We may say that these objects are a cultural surplus of an unknown process, it is a signal, with an unknown significance, but as it is still in use, we may call them a luxury.
Justification and procedures
The performing of this piece demands many operations, among them, the formal transfer of Pre- Columbian iconographic image, and the reproduction of its condition of exempt sculpture, the condition of signaling the place of location and, by means of its displacement, the performing of an urban intervention [development in progress] a mass performance.
This work acts in function of its placement and displacement: when placed, it causes a redistribution of the volumes in its environment; it shows the place where it has been set, and produces an irradiation of its sense. This arrangement of its sense is caused with an object which is an incognito. Far from saturating the sense of space in the place where it is set, [by summing and accumulating], it fulfills it with sense, in opposition to an empty object.
The aleatory moving of the pieces, that the visitors will attempt, constitute a mass performance, and it is in an action, that agrees with the exhibition of the production process and its remnants, an ephemeral reproduction of the sense order in each place, where it is taken to circulate. Under the title “bring it back”, visitors receive commands, as ambiguous as the meaning of the object. As there is no parameter of the command, there is freedom of action, but there is an obligation to provide a sense.
TO/HERE, is a material modification, to lodge the loss of significance, turning the art object into a subject of curiosity and intrigue that compulses to put a limit to the space of the unknown.
Paula Massarutti
PRODUCTION – the development of this project has three stages.
First stage – production of the objects Violet balloons will be provided. They will be the reproduction of the Supplicant’s image [see image 1]. A figure of approximately 6 metres high, and around 500 balloons of 90 cm. high, will be performed. This stage includes the investigation on the behaviour of materials [PVC and Helium] and desings. The set up of the objects [balloons].
Second stage – design of the set up, exposure and register of the exhibition Tests of the set up will be made, and also a distribution of the floating pieces, in the inside of the building. Wireless Web Cameras will be placed, in different areas. They will be connected to a computer that will store the images of the performance.
- A – opening event.
Third stage – mass performance A calendar of events will be provided. This will give the viewers the possibility to interact with the balloons, the proposal being “bring it back”. This will generate a movement of these objects in the space, in a free way. Choreographic performances are not expected. This will be a pure experimentation based on the circulation of objects.
Paula Massarutti
Image 1 Number of catalogue: Schmidt Nº 6188 Precedence: Andalgadá (Catamarca) Size: 20, 3 cm. x 7, 5 cm. x 15 cm. Material: glimmerítica stone. Corpus Antiquitatum Americanensium, The “supplicants” of the La Plata Museum. Rodolfo Raffino, Anahí Iácona, Victoria García Montes. Historical National Academy Editions. B. A. 1997.