Boxes Russian Dolls "Matryoshka doll" Ferrando Helena Requena Program; PhD in "visual arts and intermediate" email;

lenyx27@hotmail.com And at every moment in what I think when I want. For every action is a structure as a real concern that is not beforehand, a drift in search of form and structu re of my mind. According to Umberto Eco's work of art is a message open to inter pretation but always governed by structural laws or impose links take you to rea d or guidelines.'ll State my prescription, my methodological decisions creative dialectic with the "other" trying to unite certain concepts in relation to those spoken in our classrooms: "Devices, means and contexts." The artwork consists o f form (one real) + structure (and not the specific object if not a possibility of relationships that) make it an organic whole of their time together, in conte xt. Within the logic of our representation appears the "Role of the significant" always suffer consequences in the game of profit and loss. What we see is the e xcuse for what we see. A loss, what we lack a profit, we achieve. It is a coming and going that corporaliza to reach our stomach. A flight, a fall where lost an d found ... Three components of the significant role of rational constructivist this agreement: * The Royal who is manifested in the limit as possible, who need s art (whatever) for its existence, as inalienable offering embodiment of the pi ece. Treat the Real through the symbolic praxis, human action. * The Imaginary i nalienable also subject to significant intimately. Type of file (this is the poi nt of connection with the ideas spoken in class which I will discuss later). * Significant giving the logic of our representation. The symbolic field where i t takes place, the absence and presence that creates an identity. Nevertheless, the subject does not articulate with the signifier only, you need the other elem ents. Without him no joy. Creating, coordinating the movement of perspective with "the Other", because wit hout him I am not, without him I'm not. Txomin Badiola in one of his writings de alt with this issue by saying that the sculptor plays the Other. "Shaping the" d isorder ", ie uniform chaos has always been the ultimate role of the intellect" 1.This leads me to think about the viewer who tends to close the open looking fo r his own understanding to come your plus of enjoyment, overcoming anxiety, divi ng into a journey subjective profit and loss. And on that trip is when the piece corporaliza us because they "happen", a constant evolution that never runs dry, a hole, a fissure where lost and found. A game of ethics, personnel, according to our own file, our experience ... It is "the face" of a work, opposite of the "Real" always comes and always escapes, which comes in repetition, a hole, a lac k emerging "discontinuity." Because, as I said Angel Bados the lover seeks the b eloved what he needs .. and it is this intimate relationship with my work, that of lover and beloved, sometimes loved and sometimes hated. And that is the possi ble relationship that is as a spectator in a work of another feeling. We relate to a position on the Real giving similar, found in the "Other", with per second himself. Create an open work, ambiguous, with room for multiple readings as a wa y to operate with the Other and myself. Whether it's a performance, my relations hip with the found object sculptures, compositions, patched 3D collages, drawing s, ink and coffee grounds Chinese ... First I stop, something attracts me, takes me, I select it. Then gradually pitting my found object, I see a structural ske leton.I choose everything and nothing relations with him. Game, I let go of the smallest, most rugged and rough, even by chance ... and when I realize that I wa s not aware of all the time I stop and analyze dissipated : happening or not hap pening? "Are you or are not significant function? hole magic Where are you?. A s ense my last one, regardless of conscious decisions. It seems almost impossible

to explain. In fact, we feel this is like walking alone, naked by Zocco anywhere in Morocco, buagg! ... Too many eyes to the center in coming together me!. Leaving the most personal to the side, back to the "discontinuity" Queen of the game running, appears and runs away, looks and hides again playing with the piec e to the costume making trompe l'oeil or "transvestite." A friend of my father, with great sensitivity, I recommended "double flame" by Octavio Paz, he found a treasure: some examples of discontinuity structures (if they can call). The will briefly simply to understand this whole enramaje that lives in me.'s poetry, sl eep, and the erotic encounter; 1.Eio Pagliarani in Humberto Eco's Open Work * Poetry unlike the novel and other literary structures, generated holes, is com posed of words that radiate reflexes, petticoats, changing: what we learn are re alities or illusions? ... Fusion of seeing and believing. The combination of the se two words is the secret of poetry and their testimony: that the poem shows us we do not see with our eyes of flesh but with the spirit. Poetry makes us touch the impalpable and listen to the tide of silence ... reveals another world with in this world, the world is another world. The senses, without losing his powers , become servants of the imaginación.2 * In sleep and this is also true erotic encounter, just to dream that at the interface, embrace ghosts. Our partner has a body, face and name but the real reality, precisely in the most intense moment of the embrace, is dispersed in a cascade of feelings which, in turn, dissipate ... the senses are and are not of this world ... For them, poetry draws a bridg e between seeing and believing. For this bridge takes shape imagination and bodi es become images. The relationship between eroticism and poetry is such that it can be said without affectation, that the former is a poetic body and the second is an erotic verbal. Both are made of a complementary opposition. Eroticism is not merely animal sexuality: it's ceremony represented. The eroticism is sexuali ty transfigured matáfora. The agent that moves the same to the erotic act that the poetic imagination. Is the power that transforms sex into ceremony and rite, language into rhythm and metaphor. The poetic image is embracing opposites and rhyme sound is intercourse, erotic poetry to the language and the world because she herself, in their mode of operation, and erotismo.Y the same way: The eroticism is a metaphor for sexual animal ... 3 The use of metaphor makes us travel, transport us from here to there is a leap beyond what they create. ... The same happens with eroticism: it says or, rather, is something other than mer e sexuality. ... Sex always says the same thing: reproduction. Eroticism is sex in action but, either because it deflects or denies, suspends the purpose of sex ual function in the rituals ... erotic pleasure is an end in itself ... The ster ility is not only a common note of eroticism but in certain ceremonies is one of its conditions. ... In short, the sexual metaphor, through its endless variatio ns, always says reproduction erotic metaphor, indifferent to the perpetuation of life, brackets reproducción.4 This demonstrates the emerging relationship betw een poetry and language being similar to those of eroticism with sexuality. It i s in a poem when the language being diverted from its natural purpose: communica tion. In poetry,the linearity of the words twists, turns on his tracks by creati ng a zigzag. 2. Octavio Paz in "The Double-called" 3. Ibid 4. Ibid The straight line ceases to be the archetype for the circle and the spiral. Ther e comes a time when the language ceases to slip and, as it were, gets up and dan ces over the empty one in which there ceases to flow and becomes a transparent s olid cube, sphere, obelisk planted in the middle of the page. The meanings are d ispersed; in one way or another, refuse. .. The poem does not aspire to and that if not ser.5 This brings me to another phrase, that of Alessandro Manzoni, ther e's nothing to say, just be. I think after this clearer relationships with previ

ous structures of the artwork. The magical importance of discontinuity for somet hing to "happen" and when I say this word I mean the other kind of cumunicación governed by laws different from an aesthetic, a show or an exchange of news and information. I mean much more. It is in a continuum where nothing happens, whic h can be left to a sound heard. Do not stay to create a simple rhetoric to expre ss elegance, superficial or telling a story, which remain in a story. What has t o be "Happen" is not an ethical game (personal) although it is part of an experience, the personal. There is a lot more and start your difficulty. The struggle of th e artist, creating crises ... Poetry, erotica and art are born of senses but do not stop there. As they unfold, invent imaginary settings: Once ceremonias.6 poe ms and cited some examples where structural discontinuity happens again the thre e elements that make up the "function of the signifier" The real, the imaginary and significant. Everything can be related, either by their similarity or otherw ise of their difference from X. talks Rethinking our classrooms and although my research is not included, or bring to the network as a device, there appeared a relationship in my work curious thought: The "imaginary" as the file type. Doing a review, there are many possible meanings associated with the "file". But not to extend the track where not playing, I will focus on this relationship, taking a long thread by which to reach the Internet. The imaginary as the file type re lated to thought, memory, experience and thus a dual relationship issues with my creation. Places of memory, file destinations, rising by leaps and bounds by di fferent devices throughout history: In the creative act might mean that the file passes the imaginary real. Since then the piece of art not just a mere object o f but a substitute for art itself to become a file, document the context of that object will never again return. Do not forget that the registration of any act, work, discourse, within its environment makes it be linked to him, since falls within a specific time and linked to their receipt (all brings us to file inform ation from whom and how to create it as received). 5 .- 6 .- ibid ibid And the object of art to the exhibition and exhibition mounting bracket and, as cultural and historical archive. We see between archive and exhibition are const antly crossed a line. The build file reports, although this is questionable give n the controversy arises when thinking about our society and see that within the speed in which we live, things change faster than ever and accumulate as layers , creating an uncertainty in which Sorry it all away. The paradox comes to see t hat in many cases the file acts as resistance to this constant mutation generati ng more files and thus perhaps more noise. Feeding, feeding the capitalism itself w ho lives with obsession to transform everything, even garbage, a consumer produc t. Already named the exhibition as a place, rewind history and are from "The Cav es of Altamira" as a file with its cave paintings,Temples with their "papyrus" o r the Sumerians and Arcadia with some of the "cuneiform. I will making a great l eap to the monasteries, the emergence of libraries or more and well into the Ren aissance, the first photographic salons, theaters, offices and palaces. Later th e museum as public space and hitting the Internet today. It may seem outrageous to dare to write these great leaps into the story but my interest is not so much ... like ... note that the file is currently suffering and breathe, and we muta ted mutates. We keep it in boxes, one inside the other. It is supported Internet as we feel their profit and loss in any investment. Perceive their storage capa city savings resulting immaterially brutal, how they fit into the current, its s peed in real time, instantaneous and simultaneous, which in turn we can do feel some instability and insecurity. more accessible and less property, its ubiquito us reach, its ability to connect different subjectivities collectively creating a dialectic as a matter of "constellations in interconnection 6, living their st rength, not so much in the memory and resetting file as in processing and networ

king. The file runs from the most intimate to the most banal thoughts such as in ternet gives us the opportunity to share "whatever", when it is!. Takes! I'm going to do a blog! (You can pass the address, of course!) 6. JL Brea in "critical cultural capitalism mail" in http://www.agenciacritica.n et/criticaeck/ Some literature on Brea JL. "Criticism in the cultural capital e" http://www.agenciacritica.net/cri ticaeck/ Debord, Guy (1967). The society of the spectacle. Ed. Excuses, Valencia , 2000 Deleuze, G. ImagenMovimiento. Study Film Paidós I. Ed. Dorfres Barcelona 1987, Gillo. perdido.edit interval. Lumen (edic. Discontinued) Eco, Umberto. Ob ra open. Ed. Ariel, Barcelona, 1979. Gutierrez, Xosé Lois. S ock Txomin my reli gion Retrospective http://www.artszin.net/badiola_lois.html BadiolaMACBA Barcelo na 2002Abril-June Lacan, Jacques. Texts: Introduction of the big Other. But beyond the imaginary, the symbolic. Paz, Octavio. The double flame. Edit. Seix Barral.