One morning a client stopped into our office, he said loved the space we were working in. He
and his partners had bought an old coffee factory in the south of
Madrid. He wanted us to prepare a project
to build office spaces like CAMAROTE in that plot. First we had to demolish the
factory and DESIGN a project plan. The plot laws said we could make a 20m
high building with no more than 3 floors. So we already knew height was
decided, the building had to shrink 3m meters from the neighbouring line
and the maximum area to build was about 4000m2, excluding an
underground garage and a space for machines. We
drew a building that would be a new icon in the neighbourhood, a new
diamond in an ocean of dull brick buildings. In the summer we
presented the project for license in the municipality. It took more than
a year to fix details and we accepted to do some changes to pass the law filters, especially the fire
regulations, which are very strict in offices and factory lofts.
Laddaga explains that there is a kind of transition from the old 'aesthetic regime' where the artist is conceived as such or which media specialist (painter, writer, filmmaker, musician), produced works, i.e. strict edges, with precise beginning and end entities, the author produces them in relative isolation, the spectator received them in true silence (that not passivity), the play was some interruption of normal. The old aesthetic regime Rancière explains it very well: it is a practice whose turning point is the isolation, the implementation within distance of a fragment of subject or language which, pursuant to the interruption of its immediate links to the space in which it comes to appear, is exposed as a carrier of other powers. And is the artist who, from a retreat, constitutes a separate and saturated, for this reason, exteriority appearance. In the 19TH century, the dominant idea is that art should be practiced in the production of objects or events that are separated and interrupt the usual course of action in the world. The budget of the old aesthetic order is: family is suffocating, art is liberating as that breaks the familiar and introduces "the other". Globalization, transformations of the work, the network and new forms of individuation through emergency, today attended the birth of the new "practical scheme of the arts" (NRP). We are in a practical regime when more and more of the descendants of that momentary tribe of artists, without having to think too much about the matter, are otherwise: as waypoints in a general conversation, captured on the fly, which are incorporated, made of segments to interrupt and returning to launch. Sometimes, if they can, they are collaborative groups that are a bit like mechanisms of amplification where circulation, being very fast, causes rapid transformations. These groups generate collections of texts, films, soundtracks, information packets that forwarded and that rarely or never end up steady. And design structures to display these collections, often taking place in unusual spaces: at crossroads, in paragraphs quarters. In short, in the practical regime do not occur both works, as cultural ecologies, experimental communities, open and cooperative processes, ways of life and common worlds. In the "practical scheme", the Viewer is no longer a silent stranger, but an active collaborator carried out actions aimed to amend immediate States of things in the world. What I do is no longer presented in externality to the place where it appears (a Museum for example), but which directly build living spaces (or intervene in them). What I do are not so much obras-eventos that they magnetize or assault the Viewer, but contexts of research and collective learning, outdoor laboratories. And what occurs above all are links and connections, make those connections, questioning of connected visible. Some examples would be the experimental communities of Roberto Jacoby, the open production of Wu Ming, the collective film of Peter Watkins's La commune or the reconstruction of the library of Vyborg, which was opened from artists for the district. The "work" is not already clipped forms of life, but it establishes thousand connections with the place in which it is produced. Does not operate in a different medium, but it aspires to produce effects where happens. The "work" not already aims both to produce crisis, trance or event, but other possibilities of existence and coexistence. He is no longer so much of visible thing, worry or wonder, as produce common worlds. The process (slow, sustained duration) becomes more important than the result. This type of artistic events, like LAPIEZA RELATIONAL SERIES fit well into what E. Laddaga has been called "cultural ecologies" in his book 'Aesthetics of the emergency'. It is projects that articulate the production of images, texts or sounds, with the exploration of ways of life in common (in principle renouncing the production of conventional art objects), to initiate or intensify processes of conversation involving not artists during long times in defined areas, where the aesthetic production is associated with the deployment of organizations to change States of things in certain areas , and which point to the Constitution 'artificial forms of social life' or experimental ways of coexistence.