If we could bring to the front rows of our conscience all that information that we automatically calculate, that constitutes what we know as “perception”, only maybe we would have the notion of moving into elastic media, determined by the geometry of time-space tissue. When feeling the gravitational acceleration, we´d think of the relativity of weight and be able to intellect the perception of time.
So, aware of these terrestrial conditions, think of others: rhythms so slow that almost freeze the present, spaces to tense, bodies able to contain more density than what we are allowed to imagine, and other possibilities that overflow the inner conceptual limitations.
Under the tone of these questions, it is possible to do the exercise of cleaning the physical appreciation from the numbness so as to be able to pay attention to the relationship between the sculptures and the gravitational field of the Earth. And from here, re-think sculpture not only as a physical body but also as language.
Liquid Runtime Memory deals with the body as much as it deals with its interactions. In three gestures -at the same time scultoric and animated- reveals a rhythm that has not yet become a dance, that is still the idea of movement, formula of instinct; the very moment before the continuously incomprehensible present. In this state of the matter, converge the fluency and the memory of its will, with the gravity that informs it with strictness.
But besides from the formal or material aspect, there is a conceptual geometry full of artists that sustain these pieces of art in the present time. The work of Azul De Monte makes special focus on these sharp angles, in the extremes in which things start losing their characteristic factions to throw themselves into the future, among the promiscuity of disciplines and the dissections of the parts, where one hand or a neck and independent values because the existence of a whole can no longer be guaranteed.
This is how a volume of questions manages to situate right on the edge, in the fronteers of language, between the own and the alien, to think of the exotic aspect of time (the future), of space (virtual), of the body (hybrid and fragmented), into what is usual, with the intuition that something is about to break and there will be no turning back.
This reflection regarding the becoming of the body (as medium to our experiences) questions the problems of inhabiting a world in the process of mathematization: what are the transformations that is suffering and how far can they get?
Through our body and our intellect we absorb considerable amounts of information provenient from an environment that becomes more and more complex. The relationship between our capacity of processing information and the velocity of its fluency is determinant for the interpretation and comprehension of the world -what will make it intelligible or chaotic-, with the consequences this may have in our conscience.
What would be the effects of creating an environment so complex that it becomes impossible to be processed by our senses? What is the result of this complex equation between rhythm, body and environment?
Conceptual geometry is curved before a volume of information and that stretches the strings of space making the present more heavy and dense.
1- Acceptance related to measurement, in this case referred to the way we perceive, consciously or unconsciously, the physical phenomena that are part of our environment 2 - Gravitational potential .
3 - “Exotism would be, then, a paradigm: there is an exoticism of History (in which the beyond would be“ the past ”), of nature (whose extreme would be inhuman), of time (whose tip would be science -fiction). ”BOURRIAUD, N. (2009). Radiant Buenos Aires: Adriana Hidalgo Editora.
4 - Regarding this process, it refers to the supremacy of a quantifiable, measurable order, which is imposed culturally from the information revolution, with a growing valorization of data and its processing.