SITIO INESPECÍFICO - "SEARCHING FOR NEW WAYS OF LIFE IS TODAY’S MOST POLITICAL ENDEAVOR"
Sitio inespecífico (Unspecific Site) is an essay on spaces and artistic practices in confinement, a virtual refuge in which a group of artists met for the exchange and production of works, assuming that, while the pandemic lasts, virtuality is a possible territory for encounter and action, but also wondering: which virtuality is desirable?
The pieces that make up Sitio inespecífico are gestures of resistance in the midst of a dystopian contemporaneity in which artistic production has been seriously affected. The closures of art spaces, the suspension of festivals, virtual fairs and a persistent reduction in screen presence. In a desire to host what has been evicted, Sitio inespecífico is an imaginary space for a plot of pieces that come from different geographies and communities and that manifest or provoke readings about the present, but also about the future. Sustaining the conditions of encounter with spectators in this space-time/physical non-specificity represented a migration of the artists whose work revolves around artistic practices in a territory (site specific) to artistic practices in a non-specific place.
The works included are: “File migration. A contemporary still life” and “Paradise” by Laura Uribe and Sabina Aldana; "Laboratory for testing possibilities and mutations" by Marta María Borrás; "Transitory Library" by Adriana Salazar; "Revealed Biomes" by Leonardo Moreira and Aura Cunha; "Eight new omens" by Patricio Villarreal; and "Waiting for something to happen" by Israel Martínez.
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“Archivo migración. Un bodegón contemporáneo” por Laura Uribe y Sabina Aldana.
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“Laboratorio de ensayo de posibilidades y mutaciones” por Marta María Borrás
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“Biblioteca transitoria” por Adriana Salazar
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“Biomas revelados” por Leonardo Moreira y Aura Cunha
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“Ocho nuevos presagios” por Patricio Villarreal
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“Esperando que algo suceda” por Israel Martínez.
The non-specificity allows the integration of multimedia elements since the works, made for the virtual environment, transit and transcend common spaces. Sitio inespecífico includes new experiences (from laboratories and practices) that led to virtual pieces. Each one is presented through a fictional navigation that proposes an architecture of floors in a building that does not exist. The site concentrates artworks inspired by the time that we have to live, a poetic reaction that takes digital language as a form of expression.
Curated by Gabriela Halac, Sitio inespecífico is a project of the Guadalajara Espacios Revelados program, with the initiative of the Siemens Stiftung Foundation and in collaboration with the Goethe-Institut Mexiko and the Jalisco Ministry of Culture.
In Halac's words: “The site is now nonspecific: without definitions of time, presence, proximity, space and experience. The incorporeal public finds itself in undefined territories, in unknown expectation modalities and unequal accessibility conditions. The situation is paradoxical. Evicted and without meeting in person, we began to rehearse the lines that can show one of the many possible forms of artistic practices in a non-specific place, providing poetic, political, reflective and relational perspectives”.
Gabriela Halac’s work (Argentina, 1972) is situated in the field of reading-writing as materiality, performance and installation. Her pieces are developed in the extended time of relational devices, the generation of dialogues, the invention of archives, the gathering of collections and the moving towards installation narratives. Her work reflects on editorial devices such as memory machines and conventional factories. Her projects are exhibited in museums, heritage institutions and artistic research centers in Argentina and Mexico and she is the author of poetry books and editorial devices. Since 2003, she has been running the publishing laboratory Ediciones DocumentA/Escénicas, a project focused on publishing as a contemporary artistic practice where she has edited her own books and those of other artists, carried out residencies and produced her own field of experimentation, both in the production of publications and in their circulation and staging.
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