Fuegos | Fireworks unfolds as a long-term hyperplastic investigation into the pulse of automatic drawing, beginning with a gesture—a tag, a graphic impulse—that expands into a vast system of marks, archives and reconfigurations where the line becomes both event and memory. Mobilising “paper memory” (tickets, invoices, packaging, bureaucratic remnants) as a democratic surface, the project integrates the residues of everyday production into the base of the drawing, each trace carrying a double temporality: the industrial imprint of its substrate and the immediacy of the hand’s automatic movement. Accumulations of thousands of drawings produce multiple forms: compressed ingots of 1,000 sheets, horizontal constellations re-arranged daily, and filmic sequences where 16 drawings per second animate into audiovisual compositions. In these formats, the mark ceases to be solitary and becomes a socio-plastic organism, structured across five interwoven orders—plastic, socio-plastic, filmic, exhibitory and relational—each expanding drawing into new domains. The filmic order is particularly radical, assembling vast archives into video with poetic-theoretical soundtracks and disseminating them through YouTube, thereby collapsing the exclusivity of art and confronting its relation to popular culture. The exhibitory order resists stability, staging mutable constellations as living archives, redefined daily and adapted to site-specific conditions, while the relational order embeds drawings in lived experience, circulating through fetish objects, everyday papers and online networks, transforming the project into an ecology of connections. Ultimately, Fuegos resists the fetish of the masterpiece, privileging seriality, process and access, and positioning drawing as archive, performance, network and memory—a form that perpetually represents itself.
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03 Orden fílmico. Audiovisual hiperplástico. La edición de las series en formato audiovisual es un reto, ya que exige una producción cuantiosa para elaborar un solo film. El audiovisual como contenedor de obra eleva el dibujo estático (forma fija) a un orden fílmico al agrupar miles de dibujos en un solo archivo y ligarlo con una banda sonora poético-teórico-musical. Los videos quedan definidos como videoarte, y su exhibición es posible en cualquier sala de exposiciones o través de cualquir medio masivo tradicional. Además, los videos son insertados en la red, dentro del canal youtube, la plataforma de videos mas amplia y popular, haciendo accesible el film a todo el público interesado (democratizacón del arte) uniendo el arte con la cultura popular.
Hasta 2014 se ha ejecutado 55.000 veces.
