RECOVERY SYSTEMS IN FACE OF CATASTROPHE

Duties and Responsibilities
By Mariana Rodríguez Iglesias

Players
•The players are randomly distributed within the exhibition space. They’re able to move freely among the works. Even though there isn’t a limit to the number of players, they aren’t all equal in appearance.
•There’s a unique player – the artist, inherent in the work.
•There’s a player – the gallerist, previously selected.
•There are numerous players – the spectators may carry out diverse roles. There are curious onlookers, colleagues, art dealers, collectors, critics, adoring fans, philosophers and extraterrestrials.
•It’s not a board game and neither is it a competition. There aren’t dice, a ball or pieces to move. Don’t’ look for those. There are steps, a series of duties to which you can respond. The experience is non-transferable.

First Step
Decide which role is yours. Not finding yours? Propose one. You’ll be heard. If you decided that you’re a collector or an art dealer then the fourth step is for you. Go ahead! Don’t be lazy – we already know all you want is to acquire the piece. In any case, we suggest that you follow the steps below.

Second Step
Decide what it means for you that an artwork can be alive, that it’s never finished. Don’t’ ask whether or not this is an artwork. I’ll remind you that this is 2015 (if not, Google Beus_700_robles_ or Benedit_Fitotrón). Better yet, ask for all that it triggers for you to be perceiving a “living sculpture” in a gallery space. Did you think about this artwork’s future and how it’s tied to the attention it receives in the present moment? Did you ask what will happen with the pieces in the gallery’s day to day or when the exhibition is over?

Third Step
You can learn to multiply this artwork. What the multiplied artwork turns into depends on you. Did you notice that this artist and amateur gardener turned his rudimentary knowledge of plant cutting into a work? What does it mean to you that an artist hasn’t needed to be a professional in order to circulate a practical and vital wisdom such as this?

Fourth Step
You’re a collector or you’re about to acquire a piece. Did you realize that you’re going to have to take care of it? Did you already notice that this work doesn’t become part of a collection like any other, that acquiring it means confronting three future possibilities: (a) let the plant die and the work becomes a sterile micro-habitat due to negligence, (b) take care of this living entity and allowing it to grow, it expands and even, who knows, you survive it and the artist becomes a family legacy and the plant ends up taking root on your grandchildren’s land or (c) in addition to taking care of it, take advantage of the instructions on how to multiply the work in order to make many more works, numerous cuttings that is, making it a work in multiple. Under these conditions, would you give an Ignatti? Do you know which action you’ll take?

Fifth Step
Hold on a second. Inhale and exhale. Fill your body with fresh air. Now, ask the following: Where does the work occur, in the order that challenges us or the subject it represents? How does its artistic status depend on that there’s a third party that buys and reproduces it? Imagine that these pieces aren’t for sale. What will happen with the work, will it retrospectively be turned into mise-en-scène?

translated by Daniel Melo

versión en español