La Experiencia es un  material en el campo de las Artes Plásticas. El arte-vida vuelve las herramientas del arte un estilo de vida, pero como todo arte debe ser compartido se generan  preguntas: ¿cómo se documenta lo vivido? , ¿la documentación trasmite la totalidad de lo vivido?, ¿deseo compartir la totalidad de lo vivido?

  No creo que sea posible  transmitir la totalidad de una experiencia, incluso para el que la vivió no es posible regresar a ella una vez que pasó. Vivimos un pleno presente. La memoria evoca lo pasado pero siempre modifica lo ­vivido. La ilusión  de lo real  es mediada por la subjetividad, por lo que toda experiencia vivida es construida a partir de esta mediación; y toda experiencia evocada no es sino un recuerdo construido a través del lenguaje que se escoge: el pensamiento, la palabra, el texto, la instalación, etc.…Lo real se escurre en el presente y en el lenguaje;  pero este límite de no poder aprender el momento real nos regala la libertad de decidir – escoger –  como vemos, como recordamos, como vivimos, como compartimos cada experiencia  de vida.

Se ha incrementado la distancia crítica de los artistas de arte- vida y de arte- proceso hacia como  registran y comparten la experiencia artística, yo me siento parte de estas preguntas. Hay artistas que escogen la oralidad y se niegan a fotografiar o filmar sus pieza. Una parte de mi obra no ha sido registrada a partir de la imagen de lo ocurrido sino que se apoya en lo escrito y en lo hablado.  Lo oral y lo escrito  siempre han rodeado el arte de experiencia pero no  siempre han sido el lenguaje escogido por el artista para documentar la obra, más bien han complementando a la imagen de la experiencia, a la foto con su imagen ­­detenida, o al video con su imagen en movimiento.

TMP

VISUAL ARTIST

 

Tatiana Mesa Paján is a Processual/Art-Life Artist who lands in different media such as Installation, Performance, Printmaking, Creative Writing, Artist Books, Founded Objects, Ready-Mades, etc. The final language chosen on her art pieces changes continuously and depends on questions regarding Documentation, Memory, and Gaze. While the body of her production alters, her sensibility remains close to Archeological, Anthropological, and Linguistic Studies. An Archeology of her own Present is the center of the research, fascinated by human nature and subjectivity. The strategy is to read the Life Experience through the glaze of artistic tools, treating such Experience as another art material. Artist surrounded by questions such as How is the Experience documented? Does the Documentation have a holistic approach to the Experience? Also, What part of her personal history should be share and which one should be hidden, guided by ethical thinking. Artist of loneliness, street artist; Experience as a language, and solitude or introspection as nature. A poet of the everyday gesture, who choose what she should live, and how, anticipating what had not happened, building a chance, making possible the unlikely. An artist that sometimes avoid visuality and land into writing text or orality to share her memories turned into a collector of memories, histories, objects, gestures, and ideas. 

 

Experience is a material in the field of Visual arts. The art-life makes from Art’s tools a style of life. Because the art should be shared some questions are generated: How is Life documented? Does the documentation convey all of the lived experience? Do I want to share all of the lived experiences? 

 

About Documenting the Experience.

 

(...) I do not think it is possible to convey the entirety of an Experience; even for the one who lived it, it is not possible to return once happened. We live in a full present moment. Our memory evokes the past but always modifies the Experience. The illusion of the Real is mediated by subjectivity, so all lived and experienced is constructed by this mediation. Any evoked past experience is a memory built through the language chosen: Thought, Word, Text, or Installation. The Real is drained in the present and in the language, but this limit of not being able to hold the real moment gives us the freedom to decide - choose - how we see, how we remember, how we live, how we share each life experience. (…) TMP

 

About the Word and the Gaze.

 

(...) I escaped from my images to speak through the ambiguous temporality of the voice. Recovering the privacy of my moments due to the loneliness behind the Word. The Word. The Word that is chosen. The Word as a thought. The Word as ephemeral sound. The writing Word that becomes vestige, presence which evokes a whole from which it is born but to which it no longer belongs, because its duty is not to reconstruct that whole, but only to show an instant, a fragment. The Word that speaks of what happened, what ceased to be, what remains as an open possibility. The memory of the Experience persists into a discreet void between the lines of the written. I freed myself from picking up an image that brought me places, moments, and specific people. I released myself from the insatiable in-mediateness of the Gaze at these things, showing only the subjective of my moments. (…)TMP