About performativity:

Dear reader,

For some time now I have been thinking of the idea of a manual for inhabiting spaces, taking experiences of the guided tours I’ve been doing as a point of reference. I fantasize about this as a way of sharing the methodology of the research and also as a potential to document the guided tours and activate them each time and perform them so to speak. I have been fantasizing of a trajectory that can be done while reading the manual as a game with cards, and the cards as input. I divided this input into three categories: spaces, actions and questions.

There might be a contradiction in trying to fix the tours by making this manual as they have their own life, but I would rather think of it as a way to expand and transfer that knowledge. The first thing that comes to my mind in order to do so is to really understand what is going on in the tours. This might sound banal. What I mean is that there is something inherent to the tours that has to do with a way of perceiving, looking, visualizing and envisioning things. In this way, I guess, it crosses two different approaches of understanding space. On the one hand, a training in architecture makes one ‘think in 3d’ meaning you develop the ability to envision and build objects, such as buildings, to be inhabited by others. In this process, a division is established between subject and object and space appears as something to be modelled, designed and somehow consumed. The other approach is the knowledge of space that appears with movement. When you move, for example while dancing, one of the things that happens is you activate the peripheral glance (not only through dancing but any sport develops this). This particular perception allows you to measure distances, to establish a relationship with what surrounds your body. Your body is affected by the surrounding environment and the environment is affected by it. It’s in this space, which in proxemics would be called dynamic space, where relations can be established. Marina Garcés would say ‘peripheral glance belongs to an involved eye: involved in the body that looks and involved in the world in which it moves’ (my own translation). In other words, it allows you to create space with your movement. What it doesn’t allow you is to control, and this is where it breaks the traditional approach from architecture, which usually uses a panoptic view. Maybe what I want to do is an analogue 3d modelling design software where the main tool is your own body and perception.

HOW CAN WE EMBODY CARTOGRAPHIES? HOW IS A/THE BORDER MADE? HOW DO WE ADDRESS A BORDER? HOW TO GATHER AND EMBODY STORIES FROM DIFFERENT PERSPECTIVES THAT INFORM THE RESEARCH? COULD THIS SITE BECOME A MONUMENT AND COULD I ORGANIZE GUIDED TOURS? WHAT IS THE RELATION BETWEEN RULES/LAWS AND THE PHYSICAL BORDERS? HOW TO USE THE STAGE TO ADDRESS BODY REGULATIONS OF THE URBAN SPACE? WHAT ARE THE RULES FOR MOVING TOGETHER? HOW DO PEOPLE GATHER? WHAT ARE THE POSSIBLE PLACES FOR GATHERING? WHAT IS THE HISTORY OF THE BUILDING? HOW MANY STORIES MAKE THIS SPACE NOW? WHICH IS THE ARCHITECTURE WE CREATE? HOW CAN WE REALLY GET TO KNOW A PLACE? HOW TO MAKE ENTRY POINTS ACCESSIBLE? HOW DO OUR BODIES FIT IN THIS SPACE/BUILDING? HOW BODY MOVEMENT/DISPLACEMENT CREATES ARCHITECTURE? HOW TO IDENTIFY THE BEHAVIOURAL PATTERNS OF THE DIFFERENT SPACES THAT CONFORMS EACH PLACE?

2018             The construction of performative space. a.pass. Brussels (extract)

Hello dear reader

Welcome to this manual

This manual will guide you to have an encounter with this table, the table near you.

You will experience different ways of how a table can be used. Any place with a table is eligible as a scenario where you can use this manual.

Each table selected will generate a different experience.

The experience of using this manual will never be the same, as it will be conditioned by the context in which this table is inscribed.

Have a look around

Maybe there are more people reading this manual at the same time that you are reading it. Maybe they are near you, each one with a manual, at different spots in the space and we form a group since we are doing the same activity at the same place. Reading this manual around this table.

Or maybe you cannot see them, maybe they are reading it at the same time but in a different location. Each one with a different table. Each one in a different place where a table is located.

A group of people. A group of people coming from different places.

So, here we are around this table.

This group of us.

 

2018             The Manual: On Ways To Inhabit This Table & Other Issues. a.pass. Brussels (extract)

Escalera - Planta 2 a Planta 3

Sitúate en el rellano

Quédate ahí 10 segundos.

Quédate hasta que veas aparecer al vigilante de sala a través de la barandilla del fondo.

Mira desde aquí lo que está escrito en la hoja de Control de Visitantes que tiene el vigilante

de sala.

Sonríele en la distancia

Acto III - Conversación en la Hoja de Control de Visitantes

Intervienen Sara, Rubén y Olga, antiguos vigilantes de sala. Los tres dejaron de trabajar en el museo cuando cambió la empresa externa a través de la cual estaban contratados.

Sara: En el Arte Contemporáneo ya no nos interesa la vida del artista tanto como su obra’, expresa Carlos en la visita del miércoles de teresa Margolles, pero ¿se cumple esta expresión en esta artista? Algo me mueve por dentro para confirmar que ‘lo dudo’. Así indico que, Teresa y la muerte van ligados en vida y obra. No tenemos que dar la espalda al pasado para comprender el presente.

Sara dice: Está permitido generar opiniones que es mi único objetivo.

Rubén: Supongo que determinados historiadores del Arte (independientemente de la época artística) tendrían algo que decir al respecto ya que, además de profundizar en las obras de arte, se interesan en el porqué y para ello es necesario interesarse por la vida del artista, ya

sea Teresa Margolles o Goya, y por el contexto histórico en el que se da.

Olga: Cada arttista y su exposición es única, y está ahí para que cada uno de nosotros sintamos su obra desde nuestra percepción. Cada uno de los artistas nos mueve y remueve sentimientos varios. El arte contemporáneo nos da la oportunidad de expresarnos y crear

obras sencillamente desde una nube (wilfredo) o Teresa M (un muro lleno de vidas y muertes).’

Si vienes de la planta 2 sigue subiendo. Ve a la página 18.

Si vienes de la planta 3 sigue bajando. Ve a la página 12.

2019             Manual: maneras de habitar un museo (construido en los años 2000) Publicación Acento. Agua de Borrajas. CA2M (extract)

© 2018 by EstherRBG. Creative Commons.