The first Script experiment, Script 1.0, took place at the Spanish Cultural Center in Buenos Aires in April 2010. Script 1.1 was run in Delimbo Gallery in Seville in April 2010 as well. With the same idea, I started Script 1.2 for my show in Sala de Arte Joven 2.0. The idea was to paint the largest wall in the gallery between all participants. Each collaborator chose a color and painted stripes following precise rules. Thus each individual executed the script while at the same time watched as the mural was “automatically” painted.
A grid was marked on the wall and each person chose the color they wanted. Before beginning to paint, a random process was used to give each person a coordinate for their line (x, y) so they would know their starting point and direction.
Over the course of 7 days, 30 lines were painted in 12 different colors by 12 people.
Video:
Thanks a lot to: Carmen y Tono (el verdadero), Julio, Ana Paula, Jaime, Clara, Hoffa, Lore, Mónica, Rafa, Rocío, Guillermo, Pablo, Laura, Dani, Sierra, Tere, Bea, Elsa, Parsec, Jesús, Alvaro, Dane, Isra, Rafafans, María, Pepito, Encarna Fernández, Justo Sánchez-Manzano, Ana Isabel Illanes, Emilio Camacho, Eduardo de la Fuente…
Delimbo Artspace
Calle Pérez Galdós nº 1, Sevilla, Spain
May 14th – July 15th 2010
The Reticula exhibition is the study of a union between calculated geometric forms and uncontrolled factors such as wear caused by spontaneous actions produced by pedestrians. Through experiments in the streets of Seville, I observed how these external factors were affecting the works installed in the street while at the same time influencing the results that would be presented in the gallery.
The SCRIPT project (see Script 1.0) consists of murals painted by following a set of predefined rules determined by the artist. Thus, the development of the work is done in an uncontrolled manner and the end result is unexpected.
In this way, the artist is a spectator in his own artwork, and can be surprised by the outcome.
To run the script in Sevilla, I drew a grid on the wall where, according to the results obtained, the lines would be drawn. Each line depended on four elements:
1 – A horizontal coordinate (a letter)
2 – A vertical coordinate (a number)
3 – A color
4 – A direction (an arrow)
For example: E, 7, yellow, vertical upward.
I decided to leave the choice (though unconscious) of these four elements to the pedestrians. I stapled sheets of paper arranged in four groups (one for each item) in the street. Each group made a sort of mini-notebook from which the leaves could be torn. In this manner the combinations that defined the lines of the mural were formed on there own. I walked around the city to record the state of the papers between four and six times a day. I only wrote down the codes generated on a site where at least one paper had been torn. Each time a new combination was generated, I wrote it down in a notebook in the order in which it was seen. The day before the opening, we reviewed all the combinations and painted each line in the order in which it was documented.
The experiment lasted five days and 19 lines were painted.
Delimbo
Calle Pérez Galdós nº 1, Sevilla, Spain
May 14th – July 15th 2010
The Reticula exhibition is the study of a union between calculated geometric forms and uncontrolled factors such as wear caused by spontaneous actions produced by pedestrians. Through experiments in the streets of Seville, I observed how these external factors were affecting the works installed in the street while at the same time influencing the results that would be presented in the gallery.
If you are interested in purchasing any of the pieces, please contact the gallery: www.delimbo.com
The SCRIPT project (see Script 1.0) consists of murals painted by following a set of predefined rules determined by the artist. Thus, the development of the work is done in an uncontrolled manner and the end result is unexpected.
In this way, the artist is a spectator in his own artwork, and can be surprised by the outcome.
To run the script in Sevilla, I drew a grid on the wall where, according to the results obtained, the lines would be drawn. Each line depended on four elements:
1 – A horizontal coordinate (a letter)
2 – A vertical coordinate (a number)
3 – A color
4 – A direction (an arrow)
For example: E, 7, yellow, vertical upward.
I decided to leave the choice (though unconscious) of these four elements to the pedestrians. I stapled sheets of paper arranged in four groups (one for each item) in the street. Each group made a sort of mini-notebook from which the leaves could be torn. In this manner the combinations that defined the lines of the mural were formed on there own. I walked around the city to record the state of the papers between four and six times a day. I only wrote down the codes generated on a site where at least one paper had been torn. Each time a new combination was generated, I wrote it down in a notebook in the order in which it was seen. The day before the opening, we reviewed all the combinations and painted each line in the order in which it was documented.
The experiment lasted five days and 19 lines were painted.
Video:
Photos:
(Click on the picture to enlarge.)
Carteles Desgarrados (Torn Posters)
I returned to the Pubblico project but this time with more refined designs, as an homage to both Jacques Villeglé and Daniel Buren. Like the previous project in Milan, once the posters were plastered, I only allowed myself to observe and decide when it was time to retrieve them. Of the 15 sets of posters that were pasted, 8 were recovered and exhibited in the gallery. Some took less than 12 hours to be modified and others more than 5 days.
Video:
Photos:
Click on the pictures to enlarge.
Set #1
Calle Santa Paula 22
Posted: 10/05/2010 at 00h59
Recovered: 11/05/2010 at 14h40
Set #2
Calle San Luis 7
Posted: 10/05/2010 at 01h06
Recovered: 11/05/2010 at 14h08
Set #3
Calle San Luis 18
Posted: 10/05/2010 at 01h13
Disappearance documented: 10/05/2010 at 11h49
Set #4
Calle San Luis 28
Posted: 10/05/2010 at 01h18
Last seen: 15/05/2010 at 17h46
Set #5
Calle San Luis 40
Posted: 10/05/2010 at 01h32
Disappearance documented: 13/05/2010 at 14h13
Set #6
Plaza Santa isabel 3
Posted: 10/05/2010 at 01h39
Recovered: 11/05/2010 at 14h17
Set #7
Plaza de la Alameda 94
Posted: 10/05/2010 at 22h12
Disappearance documented: 11/05/2010 at 18h26
Set #8
Plaza de la Alameda
Posted: 10/05/2010 at 22h52
Recovered: 11/05/2010 at 13h34
Set #9
Plaza de la Alameda
Posted: 10/05/2010 at 23h03
Disappearance documented: 11/05/2010 at 13h41
Set #10
Calle Belen 1
Posted: 10/05/2010 at 23h16
Last seen: 16/05/2010 at 13h36
Set #11
Calle Peris Mencheta 4
Posted: 10/05/2010 at 23h31
Recovered: 11/05/2010 at 01h51
Set #12
Calle Cruz Verde 4
Posted: 11/05/2010 at 00h49
Recovered: 12/05/2010 at 16h49
Set #13
Calle Cruz Verde 10
Posted: 11/05/2010 at 00h55
Recovered: 12/05/2010 at 16h32
Set #14
Calle Correduría 46
Posted: 11/05/2010 at 01h03
Last seen: 15/05/2010 at 23h56
Set #15
Calle Churruca 5
Posted: 11/05/2010 at 01h10
Recovered: 13/05/2010 at 16h56
Thanks to Laura, Seleka, Victoire, Rorro and Axel.
Intervenciones Urbanas Iberoamericanas
CCEBA, Centro Cultural de España en Buenos Aires
Sede Balcarce 1150, San Telmo, Buenos Aires, Argentina
Abril 2010
“Intervenciones Urbanas Iberoamericanas se define como muestra de acción usualmente exterior, en un interior, tomando provecho de los muros aún en construcción, del edificio de la nueva sede CCEBA San Telmo.” www.cceba.org.ar
El proyecto SCRIPTconsiste en pintar murales ejecutando reglas predefinidas por el artista. Así el desarrollo de la obra se hace de forma descontrolada y el resultado final es inesperado. De esa forma, el propio artista puede ser sorprendido y se encuentra en la posición de espectador de su propia obra.
Fue invitado por la embajada española para participar en la muestra donde me dieron una sala vacía para desarrollar mi intervención. A partir de allí, pensé en hacer mi primer experimento SCRIPT o de “pintura descontrolada”. La idea era de pintar líneas que daban la vuelta a la habitación de forma automática. Antes de empezar a pintar, establecí unas normas que iban a dirigir el desarrollo de la pintura:
1- Cada línea empieza en la primera pared a la izquierda y acaba cuando vuelve al ese mismo sitio.
2- La altura donde empieza cada línea depende de la hora a la que se empieza a pintarla (gráfico 1).
3- La inclinación con la que empieza cada línea es definida según los minutos que indica el reloj a la hora de empezar a trazarla (gráfico 2).
4- Cada línea rebota contra el suelo y el techo con un angulo a 90 grados.
5- Al encontrarse con un cambio de plano, la línea sigue con la misma inclinación pero cambia de color.
6- La última cifra de la hora define el color que hay que usar (gráfico 3).
Una vez el script escrito y los gráficos y tablas correspondientes dibujados, solo faltó ejecutarlo.
El experimento duró cinco días y se logró pintar cinco líneas.
Video:
Fotos:
Checking dead patterns in the making of the rules for the script.
The empty room
12 colors
Mate y tarta de ricota!
Done!
I photocopied the graphics I used to execute the script and put them on the wall at the entrance of the room.
Graph 2
Graphs 3 and 1
The opening
Muchas gracias a Magda, Barbara y Martín por la preciada ayuda y a todo el equipo del CCEBA.
Fundació Joan Miró
Parc de Montjuïc, Barcelona, Spain
February 19th – June 6th 2010
Curated by Martina Millá
Mural painting in collaboration with Nuria Mora
“Murals” represents a meeting point and a creative space for mural painters of our time. The Foundation invited ten artists who come from as far as West Africa, Mexico and the United States as well as Europe to work on the walls of the temporary exhibition area.
Centro Cultural de España
Natalio Sanchez 181, Lima, Peru.
From the 5th to the 27th of November, 2009
Lima as a departure point, the only stimulus, direct contact with the city. Without preconceived ideas or previous studies we generated audio-visual projects and installations through real life street experiences, dialogue with it’s people and the appropriation and decontextualization of local resources. The exhibition consists of two well defined parts. First a photographic documentation of everything that caught our attention during the four weeks that we were in Peru. A visual stimuli that served as raw material to produce the pieces. Second, a synthesis of this experience materialized in the form of sculptural installations and a mural in the exhibition space of the prestigious Spanish Cultural Center in Lima.
A big thank you to: Jules Bay and her team; Alvaro García Vilches, David Flores-Hora and all the staff at CCE in Lima.
10th International Artistic Investigation Festival of Valencia Museu de les Drassanes
Valencia, Spain
June 4th – June 27th 2009
I’ve been invited to participate in the 10th issue of Observatori festival with my interactive installation Coriandoli (I did this installation for the first time at Cripta747 in Turin in 2009: www.eltono.com/en/exhibitions/coriandoli)
