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1964 Walking

COPYRIGHT ASSOCIAÇÃO CULTURAL «O MUNDO DE LYGIA CLARK»


1964 Walking

1964- “Walking” “Walking” is the name I gave to my lasted proposition. From there I give an absolute importance to the immanent act made up by the participator. The “walking” has all the possibilities linked to action in itself: it allows the choice, chance, the unpredictable, and a transformation of virtuality into a concrete undertake. Do it yourself the “Walking” with a white strip of paper about 40cm wide, twist it and join its ends as in the Moebius Strip. Now take a pair of scissors, pierce and start cutting from the middle of the strip and keep cutting in the direction of its length. When you have made a complete turn in the Moebius Strip, make a choice of of a new cut on the right or left side from the previous cut. This choice is important because there lies the meaning of this experience. The work is your own act. As we keep cutting along the strip it becomes narrower and you will see that it unfolds and interweaves in itself. In the end it gets so narrow that you can’t any further. It is the end of the by pass. (If I use the Moebius Strip for this experience it is because it breaks with our space conditioning: the concepts of right-left, averse-reverse, etc. It makes us to live the experience of limitless time and continuous space) Each “walking” is an immanent reality that is wholly exposed during the time of expression of the spectator-maker. In the beginning, the “Walking” is only a potential. You and it will form a unique reality, total and existential, with no division between subject-object. It

COPYRIGHT ASSOCIAÇÃO CULTURAL «O MUNDO DE LYGIA CLARK»


1964 Walking

is a close-fight, a fusion. Several answers will come with your choice. The dualism between the person and the “Creature” in the previous experiences now makes way to a new type of junction. The work in itself becomes the actual act of making it and by that it makes you and the work a total connection. There is only one type of duration: the acting is what makes the “Walking”. There is only one type of duration: the acting is what makes the “Walking”. There is nothing before of after it. Every time I go through a new phase in my work, I fell all the symptoms of being pregnant. The pregnancy starts and I suffer all physical discomforts like vertigo for instance. This can go through until can recognize my new spacetime in the real world. This happens when I can get to the point of being able to identify and read this new expression of in my work in the daily life. The “Walking’ only started to make sense to me once when I was traveling by train and I felt each fragment of the landscape as a wholeness in time, a totality, and this was spearing and talking shape in front of my eyes, in the immanence of time. The moment was the definitive thing. On another occasion, I was looking at the smoke coming from my cigarette and I felt as if time was endlessly making its own way, vanishing and remaking itself in a continuous rhythm… I had experienced this before in love, in my gestures. Every time I talk about the ‘Walking” I feel I have a real space and that I am integrated in the world. I feel safe. My experiments with architectural spaces made at the same time as the “Walking” were attempts of links with the collective world. I was trying to create a concrete space-time, not only for me but also for the others. I felt

COPYRIGHT ASSOCIAÇÃO CULTURAL «O MUNDO DE LYGIA CLARK»


1964 Walking

great exhaustion after I worked on those architectural spaces it was as if I had done the work of an entire life. A fatigue caused by the absorption of a new experience and from this I sometimes feel the nostalgia of being myself, as if I were a wet stone, a stone-being underneath a tree and out of time.

COPYRIGHT ASSOCIAÇÃO CULTURAL «O MUNDO DE LYGIA CLARK»

1964 - Walking  

lygia clark writes about her artwork "Walking".

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