Exotica Loom at Nottingham Contemporary next week

Nottingham Contemporary

A few weeks, maybe months ago, I saw an exceptional exhibition, at Chisenhale Gallery, by Camille Henrot. I wrote about it but didn’t publish the text, which happens a lot (seems like I’m not a very good “blogger” or “dedicated web archivist”). Well, it’s a pleasure to be part of a discussion where her “Deep Inside” is screened.

Beyond that, which is a (relevant) detail, I’m so glad we were invited to this event at Nottingham Contemporary. I’m excited to see how the discussion will develop and curious to hear from people who are currently working with “porn studies”. I myself have been exploring different (yet always related in some way) fields of interest so it’s great to catch up with the latest researches.

Here we go!

Thoughts on inbetweeness – space, reality and fiction

On one hand I had a big headache that didn’t allow me to participate in the discussion at the end of the talk. On the other hand, it just didn’t seem very enlightening for me, perhaps because I am quite familiar with the field of production design. In any case, what I was expecting from the event alovestorysomewherearound2046: decor construct was a deeper conversation about the intersection between production design and contemporary -interdisciplinary- art: the importance and influence that space has on actors, performers and audiences, its power and relevance as a character itself. That is something that fascinates me and this specific relation between these two fields is so obvious yet not very much discussed in general.

It’s really exciting to see how contemporary art, on a bigger scale, is still missing a few connections, like two people that have things in common but are not sure they can be friends. Personally it’s exciting because those are the themes that I’m genuinely interested and there’s still a lot to explore (at least for me).

So I left the talk with some clever notes on my notebook, ideas that came up during the talk, mainly when everyone participated, specially this man that commented on what exactly were we doing there as an audience for a conversation that seemed it could be happening in private, where artist and curator on pre-production tell their scripted scenes to a production design who explains what his job is about. It sounds confusing (also because of this long last sentence), but that is also part of the whole situation. Which takes me to this point where I start to think if being in the middle of fiction and reality is in itself the key to my research or is it an endless cycle; am I going somewhere or just back and forward from one world to the other?

So, continuing on the idea of the inbetweeness, I though of two other great examples that I quickly point out:

First example: the 2 worlds that co-exist and are co-dependent: the production of that world and the world itself

Second example: a documentary that is fiction, a fiction that is reality. That is no documentary that is entirely real or a fiction completely unreal, as sci-fi as it might be.

Two excellent cases to illustrate this are these scenes:

José Luis Guerín_en construccion

Pedro Costa_Ossos

Ossos from Pedro Costa and En construcción from José Luis Guerín

2 scenes in a bedroom, we don’t really know if they’re staged or not, one is supposed to be a fiction film and the other a documentary, but they’re not quite one or the other.

Suburban Dreams

Best-home-of-allIconographically, the suburban house is as American as television (God knows, all its aerial search-and-sweep the sky like so many centipedal antennae). Only one very small, alien elements cloud the otherwise clear azure dome over suburban America -the uneuphemized, uncleansed, naked capitalist without any emperor’s clothes at all- the commercial strip shopping center.


via arqueología del futuro