The possible gesture is a political gesture. A gesture towards the polis.
A warning gesture.
I walked the streets of the
neighborhood with pieces of political discourse prin-ted on my T-shirt.
Opinions and promises from other times. In front of me, people in their
daily routine. Every once in a while I stopped and talked with them about
those places. I was inte-rested in that information. In exchange I showed
them the texts. If they wanted them, they had to read. Maybe these words
evoked, fleetingly, pieces of memory that were the source of the questions.
Or not. But I didn't provide explanations. What you got was what you saw:
two quotations, front and back, of opposing political pre-ference.
And I in the middle, a link between texts, places and people, between
past and present, written and oral. All focused by the camera lens.
Under the top T-shirt I had others, which I re-moved
as I progressed in my journey. New po-liticians and other words appeared.
Or the same ones. An interrupted "strip-tease" which, igno-ring
the rules of masculine glance, withheld the last garment. A failed attempt
to discover the layers of superposed discourse: when it's a question of
history, there's no beginning. It was my intention to give them away to
whom-ever wanted them. It happened once.
A battlefield laid to waste. Places for legitimization par excellance
now stage competitions and deals. It is still called public space, and
it begins at the façade of the houses, where relations have been
negotiated centuries ago, with some variations, and there is nothing of
interest to distribute. This ancient pact, of gender, is re-peated on
a greater scale in the public sphere, where there is something in dispute:
power. Walking along the sidewalks was also walking along a border: between
private property and the supposedly "common space", which, not
being claimed, turns into nobody's space, avai-lable, appropriable. It
then becomes used by politicians. Citizens granted them exclusivity for
its exploitation. And everything that happens here is connected to what
"The Gesture" as an exercise of and in the
public sphere is still possible, feasible. "Tempo-rary" marks
its impermanent condition: it can stop being so. That is why it is also
Sonia Abián. Born in Posadas, Misiones, in 1966. Degree in
Drawing and Painting at the Instituto Superior del Profesorado Antonio
R. de Montoya. Completed her education with the workshops for analysis
of work organised by Fundaciones Antorchas and by Fundación
para la Amistad Americana in
the Nea. At the moment attends the course of Social Communication
at the University. Had solo and group shows at Centro Cultural Recoleta,
Goethe Institut and Galería Ruth Benzacar (Buenos Aires),
Museo Lucas Braulio Areco (Posadas, Misiones), Centro Cultural Nordeste
(Resistencia, Chaco), Museo Ramón Vidal (Corrientes), Centro
Cultural Casa Viola (Asunción, Paraguay), amongst others.
Was selected for the Project 1 Pause, at Gwangju Biennial, Korea
2002. www.gwangju-biennale.org and for a publication linked to the
former. She is a teacher and writes in local papers. In 2002 got
the Regional Grant for Stimulus from Fundación Antorchas.
participants. Research workshop on artistic practice and its social projection