STATEMENT

My practice focuses on the study of audiences, channels of reception, and the conditions that spectators encounter. I have recently entered fully into the analysis of the institution as a space of social and economical production and the way societies of control are reflected in the artistic framework, with a particular focus on the social definition of the productive roles of the public and on the surveillance systems used by art centres and museums.

I develop the work by probing experiences in relation to the reception of art and gathering findings based on the interaction between art and its public. I believe that subjection to the context is, by nature, fundamental to the conception of each project. Starting from a personal state of alertness, I apply strategies of intuition-understanding onto art itself, making the practice revolve around the relationship with the end user, ‘accompanying’ the work through its constant changes and its return to the social sphere from which it emerged.

This scenario entails the alternation of empirical observation and theoretical sources, between experimentation with formats and content analysis, in order to create a path based on feedback between trial and error, narrative and process, which gives shape to transitory situations of dialectics involving author, artwork, receiver and environment; in which the boundaries between artistic work and the relationship to the public are rather blurred.

Influenced by documentary and archival practices, performance, relational aesthetics and institutional critique, I channel my collector passion into a mnemonic reconstruction, formalised through schemes that are not very orthodox for artwork-product clichés, removed many times from the demands of the market.

My recurring concerns are otherness in regard to cultural translation, the social imaginary and prejudices; the distance between contemporary art and the bulk of the population; respect towards artistic work as a social and professional category, and the relational systems that the artwork sets up in regard to the public in accordance with the specific institutional mechanism that they are framed within.

Human contact is at the origin of my projects, which always require an interlocutor-accomplice who is willing to engage with the situation that is brought about, with the proposed hiatus for reflection in the midst of artistic circulation, through which I aspire to introduce controversy around the actual meaning of artistic practice and its genuine experiential significance to the user.

How can the essence of art approach the subjectivity of the individual? Both enthusiastic and sceptical, between the optimism of the possible and the angst of the attainable, I defend the post-productive capacity of art – that which can endow it with the proficiency it requires to develop autonomously in its relationship to the spectator in spite of the regulated procedures that surround its contact with the public. And isn’t that the meta-narrative that supposedly underlies the base of art and, as such, its purpose?