Short summary of the project.
This project entails the realization of a large-scale Land-Art Sculpture that in sinergy with the NASA Indigenous community from Cauca, we have named ‘LA MINGA ESPIRAL’. This call for a massive
gathering is commonly called “La Minga”, which means ‘a collective work towards
a common objective’. The intention of this project is to deploy this social and
political dispositive as a mobilizing human force, working this time towards the
realization of a large-scale social sculpture. Taking for reference the
ancestral geometry of Indigenous imaginary, the practice of this large-scale
sculpture resonates with the Nazca’s Geoglyphs in South Peru. On this occasion,
the excavation and construction of the Sculpture will take place in a sacred Indigenous territory of the
Colombian land, to operate as ritual space for the community in the future. Through the project “La Minga Espiral” we wish to knit from
this conception of art, a dynamic facing the urgency
of a new Ecological paradigm.
‘Dancing with the wind to summon the Rain.’
One of the ceremonies of the NASA community, is to
summon the rain by entering into a conversation with it through a repertory of collective
actions. It entails a relational mode of thinking that the contemporary
anthropologist Eduardo Viveiros de Castro describes as the opposite dynamic of
objectification in Western dialectics, a system that works through personification,
a space in where “jaguars
and men were still the same”, a space in where talking to the thunder is talking to a person, a space in where ‘becoming jaguar’ is not a metaphor.
In the Amerindian
context, we will explore how personification is embodied in the construction of spatial deployments, a space in where the synchronization between Cosmos and Architecture
is a foundational conversation. In a more recent context, the art movement of Land Art resonates with the afore-mentioned relational model
since its foundations are deployed through geological dimensions, reopening
to us [now through art] the notion of the art object not being the painted image of the landscape; but the landscape itself on which we draw reality through the transformation of
the landscape. How could we think what we have resolved as Art in Western culture from a decolonial prism as perspective? How to relate to those constelations without Art as frame to ressolve those questions? We could say then that the recovery of the Land is not a Museum.
The potency of this conversation within the
NASA context is that there is no word for art in the NASA YUWE language,
allowing us the possibility to think art without art as the
movement to come.
3D PROJECTION OF