Terra Cotta Orange Paint Colors

I still trailing the first decent

_______ Until now, work with body awareness in the act of urinating, had been done in private using the video as a channel between the private and the public. In the first decent performance for the first time I faced the act of urinating and made public, say that in action, because to have documented the event and publishing it in different ways, somehow began to make public.

_______ interesting thing is that you enter a new text to be part of the structure: modesty. I kept standing in front of the bottle about 3 minutes without being able to urinate. People who had attended to see the performance was not called, I just followed her from the sculpture studio. The wait's almost as impatient as me. The inability to urinate smoothly was a significant experience on which to work for the next performances. I had to concentrate hard to get what little pee I did urinate. But I did, I deposited urine in the three bottles.

_______ not feeling satisfied with the results, the next day back to where he had left the sculpture, with plans to repeat the video performance, this time with more body awareness, body intimate relationship with the public body, only to find the surprise that the sculpture had disappeared. An unexpected new text appears: the absence. And the questions themselves: Where is he? Who and how it will be taken? I retired a little frustrated, enough to even begin an investigation his whereabouts: frustration, but at the same time, my need is covered instability. A new significant experience feeds the process.

_______ I said many times before this project, my job is not the object, because I have no works of art. I assumed that my little appreciation for the subject was such that I was not interested and not detract. But having spent time, effort and money to make this sculpture and had quite lost overnight, it was not easy. Then my argument is weakened as not an object. At the end of the videos I have these objects, objects that are reproducible, but are objects dear to me as an artist can see his paintings. Remember a fragment of a poem by chains, which he called Imago, said: "The attachment, the attachment is the enemy. With your gums da crazy to do. Produce annexations, childish violence, rarefactions of the air." It was just so, a rarefied air, and then display the next performance, no sculptures, no shame, pure, smooth, concrete.

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How did this happen? Imbalance

_____ All original force in me, in constant need of balance, makes use of the transgression to assert themselves. What transgresses? only to itself. Each of the significant experiences through which shapes and determines the structure, occur in a state of mental instability, originate from the instability and lead to it. The metatextuality occurs within the same subject, the relationship is fundamental criticism himself. Clearly with the environment too, but mostly to himself.

_____ ( Contradictorily) I avoided talking about the artists not to limit the investigation to the "field of art, or art, as a discipline. Beyond the discipline I am interested in life itself. I do not think an art of transgression alien to my life, or defined within what is considered art. Speak of transgression as an expression of life and of art as expression.

_____ I remember seeing a video for several years in which one member of the band did something truly unexpected. The keyboard and then sodomizing him urinating, I found it quite bizarre and distasteful, but I liked. Although I do not like the music, the performances was what caught my attention. I was attracted as a break with what had hitherto seen of people singing or playing music. He would go directly to the moral and had a force atropellante. It was so strong that I felt I had no time to think, just as it had received, even with all the symbolic distance that I can now see, I felt I was run over in a way that I almost touched.

_____ Years later I am a college student of fine arts, invited along with other fellow students to participate with our work in a performative opening event of the contemporary art museum Maturin. I had several meaningful experiences at that time. We had given the slogan of our proposal to participate in the experience we had with the space and people that makes life on the block surrounding the new museum. One of the first things I experienced was the contradictory combination of homophobia, heterosexism and boundless sexual appetite of the members of the community. So I felt a moral duty to destabilize some such schemes. After all the stress and discomfort prior, using (and in some way abuse) of my rights as an "artist" in the context of an institutional event organized by state authorities, presented a performance where I'm naked, connected another naked woman, a blend which I made with two suckers to unclog pipes (new) connected by a transparent plastic hose underground. The performance was to interact playfully with my partner, leaving bare the cultural center, walking toward the square Miranda. In the square we play about 5 minutes to exchange the places where we placed the pacifier in our bodies and experimenting with the tension produced in our bodies the assembly. At the same time played with the tension that occurred in people who interacted with us passive and active. Then we returned to the cultural center, interactuábamos with whom worked there, trying to take pictures with the police, who refused. We took some photos in front of a giant of the President, climbed to the roof and a guest artist playing we took some pictures with and without the assembly and finally returned to the library and got dressed. Only when we returned to the plaza, where activities were continuing, we understood that we had caused great tension at the scene, the director of the museum threatened to fire and instability was evident, but the activities continued.

_____ One of the guest artists at the University of Zulia, gave a performance in which a cloth placed over the floor and on top of him playing with the order of dishes pushing with his bare feet. She wore an emerald green dress that stood to walk. Between his legs were the dishes, and I in my need of instability, really expected something to happen atropellante shake me. Then I concluded that I expected was to pee and dishes that never made me disappointed. I understood that was my next performances. Urinate as an offering to a antisanto, as he named a saint.

(Test within the cultural complex)

(in conversation with the Director of the Museum)

(interacting with people from the community)

(back to the cultural complex)

(playing on the roof)

_____ in Maturin The performance turned out to be decisive for which continuous, satisfacciónde my challenge, the authorities responsible for administering the funds for Arts in Mogan decided to dismiss the Director of the Museum. We were all very disappointed in its action and decided to send a statement to the Ministry of Popular Power for Culture of Venezuela, the media and all institutions and individuals related to culture as we could, to report on our position on what we consider action set to a nineteenth-and retrograde thinking what should be the arts, which had no impact, so we decided to speak out with art and produced a simultaneous action in three states in the country: from Zulia Experimental School of Art took a market for actions related to nudity and body paint, in Monagas artists Street and enthused and decided to take the city rebels Francisco de Miranda, which was held on performances for action also related to the nude and banners written in about their posture and in Caracas, a group of students take the square IUESAPAR museums to undress completely and expose the public to be photographed by the press and then give a statement to the House of a local radio station, which were the only media that attended our call.
the end nothing helped, the former director of the museum is dismissed and the regional authorities in Monagas have been given the job of discrediting our reputation

_____ therefore go through a moral crisis that results in another performance, presented at the Project Nomasdecinco in the Organizacion Nelson Garrido.

_____ I continue studying a degree in fine arts and chair of Mixed Media, which is the specialty that study, I requested a project to develop during the semester that can be linked to the content of the material oriented on all art digital and net art this semester. Using the idea born in the museum's opening event, I developed an intertextual structure, interdiscursive, metatextual, metaphorical, etc..

I'm just being

_____ Despite my reluctance to talk about "artists" during the investigation, I found some background related to transgressive art and contradictory. From Dada, Duchamp in 1915 Fontaine submit to the jury of Independent Artists in New York a urinal upside down. Then in 1920 J.-T. Marx Ernst Baargeld and organized an exhibition in Cologne, to access the sample must pass through a bathroom stall where a girl dressed for First Communion, reciting verses obscene. Throughout the history of twentieth century art and so far this century, art has had to transgress to justify their useless existence. _____


As a result of the performance "the first decent" on Avenida Los Jabillos Caño Amarillo where offering 3 bottles of urine at antisanto, got 3 performative objects: cylinders. To close the chair of the Workshop Performances Supplementary did an exhibition at University Gallery, in which I participated with three bottles on a pedestal and a few pictures documenting details of the performances. As time passes, the urine content changes color bottles and plastic containers is deformed, I fear that at some point burst.

_____ But the idea is not unprecedented, and Piero Manzzoni had canned his feces and had sold the gold price in the market, called the work " Merda d'artista ", consisting of 30 grams of canned faeces. Some of those cans are in galleries "significant" other in major museums such as MOMA, some have been exploited by the action of gases.

(artist shit N.076, 008, 001 1961)

_____ Andres Serrano also has worked with urine, in 1987 presented "Piss Christ", dipped a plastic Christ in urine to photograph. It caused great controversy, especially attacked by the authorities of the clergy and political moralists. It was even reported to the congress.

(Piss Christ, 1987)

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The study of the dynamics knowledge itself has been significant during this project. I set focus on the nature of the structure of Nietzschean thought. To realize that my suspicions about the self-contradiction are true (as I understand). This I had been thinking since my first introduction to Nietzsche through the poems Dionysian dithyrambs. Just the two poems that have attracted my attention is one after the other within the body of poems. One is Just Crazy, Just Poet and the other is Among Raptors. Both poems of inconsistencies each other while both contradict other texts as Nietzsche, Thus Spoke Zarathustra or the Ecce Homo. But who helps me to have this sense of balance about my theories of literature is Karl Jasper Nietzsche, quoted by Schaeffer in his History of Modern Art. Jasper says: "The self-contradiction is the central feature of Nietzsche's thought." Although not quoted because Schaeffer agrees, but that Schaeffer agrees or not, I do not care much. I submit your theory to my charts and said it would, I submit my structure to his theory and your theory does not convince me, it's because I do not succeed or I fail, then tried to make me continue my own theory about Nietzsche, as well as reason is the only viable way or acceptable, at least by my own morals.

I wanted to continue that sequence that Nietzsche was developing in their literature. Recently I read some excerpts from one of the last books he published: My Sister and I, which explicitly contradicts much of what is stated in the Ecce Homo. It is observed throughout its literature is constant, but also identifies foundations which link all his writings. As regards an artistic vision could recognize Nietzsche's signature on the form. It is the form that gives the foundation Nietzschean poetic discourse. When I dared to assert that the form says one thing and content again, I have declared that they are opposite each other. Try to explain it this way, what specifically Nietzsche says in each of his writings are characteristics that reveal aspects of himself and of life itself, however, the way he says it is significant and also allows us to access other spaces of discourse. A declared content and form declares B. Does not mean that the content and form states SI NO, because it would be a very poor grasp flat Nietzsche literature or anything else. Clearly between A and B can be and there are contradictions, but the whole notion has inherent contradiction mail allowing you to be a contradiction. Logic plays a key role then because there is a contradiction to the human capacity is necessary to deduct a point through two others. Capacity is even necessary to subject the speech or conditional concept and its results.

Say that this is only one aspect of research and is probably the most interests me because it generates in me a greater sense of balance with the natural and logical response subsequent need to solve problems, says Nietzsche in Antichrist : overcoming resistance. However, the project had an important technical aspect, situations in which the imperative is to solve problems ranging from purely technical materials I'm using to build the sculpture symbolizes Nietzsche, through the work of body awareness to get up and urinate in a few containers and your use of Action Script as a Web programming language.

Some technologies that I am using have been called: new media, but not the "new media" what really interests me. Using video as a channel that allows me to go from the intimate to the public and through which document the performance process of working with body awareness, but I'm not talking about the video as such, nor am I talking about the Internet but both are involved in this work as well as photography digital image editing, animation and web programming languages. Are important means to help me to explain my ideas but not the central theme of this project. And neither are the sculpture, or poetry performance. They are all registered schemes my cognitive structure. Living structure and constant assimilation, accommodation and adaptation. Always attentive to new imbalances conceptual from the innate need to resolve conflicts. Being through conflict that transforms and complicates.

The development of this discourse of intertextuality has been demonstrated, inadvertently but not without conscience. Because intertextuality is a fact evident in every aspect of life. All the elements are part of a whole that there is but we resolve through mechanisms of integration of the previously differentiated. In my work I have made several symbolic systems interact, as well as various technologies and processes. Since this is a project , despite its qualitative methodology, worldview prelate any results. This has not been a work in which the trade pleasantly enjoyable about "the artist as officiant." This was the result that something seen in the mind and then poured into text, images, animations, etc that advertise. It is not the pure result of chance, but chance involved. I have considered prior to its realization a concrete idea with the intrinsic necessity of asserting control.

I've said this in other writings and I will repeat here, I'm not looking for an overcoming of metaphysics, as any quality that is declared as a noun, introduces a metaphysics. As an entity will not exist and if does not exist as an entity does not physically exist and therefore is a metaphysics, so do not try to overcome the metaphysical or I can say, not yet.

Intertextuality is a process, being a compound word refers to its own movement, hence the movement itself. Everything moves part in a space and is subject to certain consequences that go hand in hand with the fact of moving. We speak of intertextuality as a process through which various correlates interact to form the cognitive structure. Learning to swear is intertextual, because the structure is formed with the schemes that we have and we are having. This being so, the "work of art or artistic approach, etc. is intertextual and it is this project. Using mechanisms of differentiation we identified several correlates that are interwoven: the syncretism, the Judeo-Christian symbols from the Nietzschean poetics, transgression, self-contradiction, history, being, the need to affirm what I have in me to be free and willing, the intimate and public, sacred and profane, the negation of the Other, the cynical reason, the denial of gender, ars poetic, etc. regarding the conceptual and technical terms, the media are mixed, so it would be foolish to repeat the means may differ but who meet in this cosmology.

Each of the aspects that can be identified are potential metaphors for the rest of the structure, each announces his surroundings, as each element has inherent characteristics that we use to infer, predict and attempt to control the rest. Although some would argue (And perhaps I would join them if a little more sensible) that would be richer, rather than recreate a space within a room, get the item that serves as a liaison between the other elements found there; then activate a space like this and although I have tried to give it an important semantic space (by projecting the performative act in the street instead of in a white room,) I think the project , inevitably is recreating a space that took first place in the intellect and then the tangible physical space, so I said that I have sought to overcome any metaphysics. The epistemological structure that I'm developing through this research is a metaphor for myself, I understand metaphor for how life and assume. In developing a visual language may be some symbolism recontextualicen and is very likely to store symbology that has been with us since our childhood, in that sense, this project is autobiographical and self-referential basis, relating to time with the cynical reason. Every metaphor is interwoven with what surrounds him, is it in itself as particularly problematic and at the same time is a symbol of what they called another. Only by having evidence itself, from his epistemology and symbols, the other only sees through his episteme and therefore can be and is a metaphor for everything. Metaphors are correlated and from this correlation tell us about the structure, but in themselves are unstructured in each of the signifiers that make up the metaphor. Exists because of the space that separates man from things, because what prevents a direct relationship with the authorities and the facts, thanks to the symbolic capabilities of the individual.