action, asserting the place I dwell in as a temporary situation. A sweater on the chair, a sock on the floor, the keys on the little table by the door. To be-to dwell! Temporary occupation of my objects, prompting the idea of how I de-construct and construct the space, generating circumstances, places and moments becoming the images that constitute my memory, connecting my acts with the environment, collaborating in the world happening. The world is a cluster of coincidences, a construction of continuous images developed through different tasks; as long as it is impossible to approach or to touch the “truth of things” itself. An encounter of circumstances is coming about, of elements that allow the assumption of a temporality. In order to feel that we touch the world, we have to imagine it. To transit on it with the desire of remaining within the quotidian is not enough; the quotidian does not exist, only the omission of continuous change does. Everything that is in the world is transforming itself, giving the opportunity of coinciding into multiple events of “singularity”. A singularity is a place where the density of matter and the curvature of space become infinite, affecting the universe realities. The Big-Bang must have been a singularity, a place of encounter, a chance that might explain the coincidence of events that surround me, disclosing that the stay of “something” in the universe is an arbitrary but convenient situation, in a state of continuous, and therefore temporal, transformation. Everything is ceaselessly changing, everything that can Be and Done will be into process, all the actions I can carry out today, will be “definitively unfinished”, in contrast to the ones I will be willing to carry out tomorrow. What is left for me then is to endure the maelstrom of the infinite, to create folds over
the timeline, oasis where memory has the chance of recreating itself and works as a place for others to dwell into their thoughts, a sequence of departing points that help me to connect with the others, with the otherness, with such thing that makes me feel part of life, creating images parallel to the ones that belong to the surrounding reality, defining an individual path from collective, multiple and aesthetic encounters. In a place that I identify as my “artistic practice”, where the media that materialize the images found are tautological accounts of the place where they occur, allowing me the chance to happen in a state of continuous encounter within a multiple reality, considering the coincidence as the raw material that can be used, so in the resulting works of the process there will not be any “topics” necessarily, but circumstances giving place to the coalition of the diverse interests that make me up, through the same language, developing the codes of one’s own nature.
Notes 1. Scott-Heron, Gil, The revolution will not be televised, Flying Dutchman Records, 1975. 2. López Quintás, Alfonso, Ser ambiental, Educación por el arte y la literatura, Barcelona, 1990. 3. Deleuze, Gilles y Guattari, Felix, Percepto, afecto y concepto. ¿Qué es la filosofía?, Anagrama, Barcelona, 2000.
165