DENK MAL… (#1)
Denkmal
noun 1: German for monument.
denk
noun 1: German for thought 2 verb: the imperative of denken, to think.
denk mal (an)
“think about it”.
DENK MAL… (#1)
Denkmal
noun 1: German for monument.
denk
noun 1: German for thought 2 verb: the imperative of denken, to think.
denk mal (an)
“think about it”.
S(C/T)ROLLER
Much more than a mere extension of my artistic practice, or a “tool” with which I “discover” or “apprehend” site, walking is a distinct way I think(and)make. After all, sites as active agents with permeable bodies, not mere backdrops or contexts. Walking, therefore, is a conversation, a reciprocal and simultaneous act of shaping and being shaped, a situated and embodied/enminded way of reading and writing.
Paraphrasing Rousseau, I can only think/make when I walk and/or talk. When I stop, I cease to think/make; I can only attend in dialogue. This is why I decided to build a portable scrolling device able to continuously feed me paper and with which I can track the path I/my eyes/my thoughts travel as I move about. The Scroller allows me to trace (in) a non-linear yet continuous single-line way, without having to lift my pencil or pen or look down to turn the pages of a notebook. The plan is that the next version(s) will have the ability to automatically vary the speed of the paper’s movement based on how fast or slow I go.
(More soon.)
In cooperation with Ken Campbell
Gifti(n)g
gift noun 1 : something voluntarily given by one person to another without compensation 2 : the German word for poison.
Is there is such a thing as a truly unconditional gift, one which doesn’t emerge from —or generate — a sense of debt? Is a gift genuine only if it’s offered anonymously and without a motivation or expectation of any kind of return (be it a countergift, gratitude, recognition, praise, approval…)? Or is there a way to develop a free-gifting practice that doesn’t demand (the impossibility of) absolute altruism?
To explore this question I have been making hundreds of handmade, life-size, realistic-looking and bio-regionally-correct ceramic mushrooms by hand and distributing at undisclosed sites. In other words, sometimes, instead of mushroom picking, I discreetly go “mushroom placing”, so those attentive to their surroundings — or those who simply get lucky — might end up with a one-of-a-kind offering.
DEERWALK
(O Regreso Daquele Que Sempre Aquí Esteve)
On the road to Vila Nova de Cerveira, the “land of deer” in northern Portugal, I spotted one of those ‘deer crossing’ road signs. I asked if there were many deer in the area. The reply: hunted to extinction. So story (very, very) abridged, I embarked on a mission to draw the original settler back from exile by way of a 4+km outline of a royal stag over the whole town. After months of walking around the area to gauge the territory (this was in 2003, before Google had mapped the area and before handheld GPS devices were easily available), I realized that the combination of old and modern streets would provide me with all the lines I needed – and much, much more. The drawing itself was described by an unannounced and nocturnal “deerwalk” two years later during the rutting season, for which I wore specially handcrafted ‘hooves’ inspired by traditional Portuguese farmer clogs that stamped a golden ‘deer track’ at every step. The trek was mapped out to start and end at the same spot (i.e. in front of the entrance to the castle, between the two antlers) and was mostly documented by curious passersby.
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With support from the UNESCO, Bienal de Cerveira, Cámara Municipal de Vila Nova de Cerveira, University of California, and Fondo Nacional para la Cultura y las Artes (FONCA).
Proposal to de-pollute Mexico City air(space).
(Photographic images on commercial billboards.)
As a constant traveler, I find my way around unknown spaces by wandering around map-less and by finding/making correspondences with the landmarks of the city where I was born and know fairly well. Sometimes the associations are quite literal, sometimes poetical, but more often than not, they only make sense to me.
During my time in Barcelona, I made two maps: one of downtown Mexico City and the other of downtown area of my new environment. At least that’s what they read. At closer look though, the map that says ‘México D.F. Centro” is actually the map of Barcelona and vice versa. Street names such as Alameda Central and Passeig de Grácia replace Las Ramblas and Paseo de la Reforma.
I gave away a few of these professional-looking pocket maps to unsuspecting visitors in each of the cities to assist them in finding alternate ways to transit space. Hopefully, at least one person welcomed the invitation to get lost and stumbled across happy accidents and undiscovered gems.
This is an ongoing site-specific project first developed during a residence at the Banff National Park, in the Canadian Rockies. The idea is to use materials derived from the same objects to be (re-)presented (i.e. trees), thus (per)forming a ‘circle of conservation’ of both matter and form.
Result 1:
a 15 meter douglas fir ‘rising from its own charcoal’. (Detail)
This project consists in the construction of three-dimensional and life-sized edifices using the drawings of archetypal houses I made as a child as my points of reference. So far, 4 different constructions, on 8 occasions and in 5 different countries have been installed.
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SPORADIC HOUSE #1:
The ‘blueprint’ for the first of the series is a graphite drawing on my dad’s old architecture studio stationary, while the ‘house’ itself is made out of eight stretched canvases.
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SPORADIC HOUSE #2:
For the second house, I opted for whatever organic material was available at each space, given that the blueprint is a collage made out of twigs and dried leaves. I first built it in Venice using mostly pine needles, and then in a diversely vegetated Barcelona park, from where it vanished mysteriously one night. Weeks later we discovered that a family of travellers had taken it because they needed an extra room. My intention was to build it on my own, but everyday dozens of people would come by to offer to help out and so the construction process became a week-long communal action.
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SPORADIC HOUSE #3:
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SPORADIC HOUSE #4:
The blueprint for the fourth house is an odd case. Generally, a child will first draw a house and then it’s surroundings, but I did exactly the opposite and seem to have decided against coloring it in. Therefore, my material of construction for the aluminum structure, aside from the frame, is space. Walls, roof, door and chimney are made out of the landscape it is located in.
My plan is to take this house on a few hikes and use it as my camping tent.
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With support from CONACULTA , The Banff Centre for the Arts, Museu de Sant Pol + Amics de les Arts.