Thursday, February 7, 2008
Art has often been considered an “agent of transformation.” However, what happens when the art and the spaces where we present it are in a state of flux and transformation? During the twentieth century, mechanics allowed us to incorporate the notions of speed and motion into visual representation. New technologies give us the possibility to create forms in transformation avoiding the limitations of particularity and singularity. These mutant forms might respond to a public space that is mutating too. Forms can be combined and recombined seamlessly like if we were altering their genetic or molecular composition.
I have been working with hydraulic mechanics and other customizing techniques to alter the form and adapt objects to particular and specific cultural, political or aesthetical needs. However these analogical and modern processes seem to be limited to their original structures. During modern times simultaneity and a multiplicity of points of view were organized in fragmented ways such as cubism, collage and the modern city. I am currently exploring 3D design programs to create flexible sculptures or forms that transform themselves. With other programs I could also morph and hybridize these and other forms in seamless un-fragmented ways. By intervening different spaces with these alien and malleable forms I am hoping to reveal the glitches in the matrix.
Manhattan Dub documents the intervention of public space in New York City in a customized Penske truck with virtual graffiti.
An art piece by Rubén Ortiz Torres produced by Low Rez Crimez for the exhibition The Manhattan Project at Art in General, New York City, 2004.
Graffiti animation: Raymond Gutierrez
Video mix projections and truck customizing: Konstantinos Mavromichalis
Truck driver and curator: Sofía Hernandez
Stills: Vicente Razo
Original music: Dewey Ambrosino
Final editing: Ricky Delaveaga