Handbook of Operative Losses
The Handbook of Operative Losses began during the three months of confinement in Barcelona, Spain.
Due to the pandemic I had to return immediately to Barcelona from Helsinki where I was developing a research residency at the Saastamoinen Foundation. Everything changed fast. I continue working on my research around Fernand Deligny, but the circumstances exposed me to a new deal with my work. Suddenly many of the conceptual apparatuses I was building through and around Deligny's gestural philosophy were falling apart. Something forced me to retake seriously the most simple and direct tools to retain, to inscribe, to memorize my experience and research. An experience that was being common to so many at the same time. An experience of lock downs and concrete uncertainty.
My work has always celebrated the uncertainty, but now this global uncertainty is deeply restricting our liberties and rights, it is transforming our ways of living, and it will affect the lives of my children for years to come.
The confinement has re-traced us, to me, to my family, to everyone. During the hard confinement I worked everyday with two new partners, my sons León (6) and Émile (2). We tried to create the best possible mind-space to answer the situation, and the experience it is engraving through our bodies. My artistic practice became a part of that space of care. That space of care is a change in the form we experience time. The last two years I was already abandoning some conceptual methodologies. My encounter with Deligny's ideas and procedures confirmed the decision. It is not about fabricated imaginary narratives of conceptual, or rather wordly meaning. It is not about apparently reframing the conditions of living through fixed models. It is something beyond the managerial politics. It is about common living evidently, again.
A friend of mine, not so many weeks ago, during those calls we had under the confinement, remembered my artistic project titled "Amor Social" (1996-2003). Some times, or maybe constantly, we are oscillating, meditative oscillation. The tracing of maps has been the most exposed form of practice of Deligny's tentative. During the confinement I stop in some way. I renounced in some way too.
This handbook grew, and continues to grow, through a daily based practice of the materials, through the materials, through the gestures the materials imprint through me.
charcoal on paper, A4
watercolor on paper, A4