{"id":209,"date":"2014-02-10T19:44:00","date_gmt":"2014-02-10T19:44:00","guid":{"rendered":"http:\/\/matildemarin.com\/sitio\/?p=209"},"modified":"2022-04-15T19:20:04","modified_gmt":"2022-04-15T19:20:04","slug":"a-new-sensibility","status":"publish","type":"post","link":"https:\/\/www.matildemarin.com\/en\/a-new-sensibility\/","title":{"rendered":"A new sensibility"},"content":{"rendered":"

Dialogue with Matilde Mar\u00edn
\nby Teresa Macri<\/strong>
\nBuenos Aires, 2002<\/em><\/p>\n

Teresa Macri: How do new digital technology -photography, video-installations- influence your latest work?<\/p>\n

Matilde Mar\u00edn: I believe that new technology is like a circle or a labyrinth, if one doesn\u2019t go through them it\u2019s impossible to tell if they are any good. For those of us who have been formed dealing with tangible materials, the path towards the estrangement from the actual pieces at the time of their creation constitutes a conceptual change. This is the challenge -because reflection begins conceptually- and the great change of the last years.<\/p>\n

I understand new technology\u2019s arrival and close relationship with contemporary art in two ways. While it makes the artist\u2019s formal work easier, on the other hand -and this is its most important aspect- it offers the \u201cpossibility\u201d to reflect about images from another place; this prospect and its probable influence in my work is what attracts me most. New technology proposes distinct manners of representation and if one is \u201caware\u201d they become an introduction to a new understanding of the meaning of art.<\/p>\n

TM: Osvaldo Soriano used to write that \u201cMemory makes each thing grow.\u201d In which layer is your subjective memory?<\/strong><\/p>\n

MM: There are many memories: cultural, historic, political-cultural, there is even computer memory. What interests me most is my subjective memory, it\u2019s the one that grows and appears in my work as a theme in what I call \u201cthe inner memory of man\u201d. It\u2019s an active memory and the starting point of my series \u201cDesde el muro\u201d, \u201cFragmento del gesto inicial\u201d and \u201cJuego de manos\u201d.<\/p>\n

TM: How do you associate memory with the present and turn it into a narrative of the real?<\/strong><\/p>\n

MM: I\u2019m interested in memory\u2019s ability to work and transform itself at a crossroad between the personal and historic and cultural level; a memory that\u2019s not only remembrance so it can become a real gesture. One doesn\u2019t make art only by remembering.<\/p>\n

TM: Okwui Enwezor, director of the latest Documenta, maintains that the \u201cpresent of the existent is developed as a need for representation in a symbolic and sociologic level.\u201d Do you think that this is an essential imaginary projection for contemporary art?<\/strong><\/p>\n

MM: This question is part of today\u2019s debate. Contemporary art has become a necessary window for the production of the projection Enwezor is talking about. If the existing transcends representation, art has to recover the ability to interrogate and transmit. Many of today\u2019s artists reflect in their work the social and cultural transformations of their surroundings; reality moves to the symbolic to be transmitted in other ways. It\u2019s the image of the artist as witness. As an artist one can chose to make pieces without a context or pieces which reflect a commitment with the present. I prefer the latter.<\/p>\n

TM: Globalization is an ambiguous process in itself: it gives visibility to none western cultures but, in the other hand, it standardizes them. What do you think of this risk?<\/strong><\/p>\n

MM: I\u2019ve been traveling through Latin America for a long time and have seen in its cities the replacement of local crafts and the slow erasing of many cultural marks. Globalization makes us live in a yet unknown way in the history of mankind. We are unprotected before an encompassed phenomenon that sees the fast narrative of the information and the cities\u2019 depersonalization through global advertisement images. It\u2019s a harmfully seducing event, though it is impossible to know which values will remain at the end.<\/p>\n

TM: How is the troubling political and economic situation reflected in today\u2019s artistic work in Argentina? Has this originated a debate in your work?<\/strong><\/p>\n

MM: The country\u2019s current political and economic conflict has given place to a marginal movement that can be named as \u201cart in the streets\u201d. This is something that\u2019s growing, that\u2019s on its way. As an artist I feel the need to deepen my thought and leave some sort of personal testimony of the country\u2019s unusual moment. Some years ago I showed prints stemming from Shakespeare\u2019s sentence \u201cWork the peace of the present\u201d. I went back to this thought and made a video, filming in the street and working with people\u2019s gaze as witnesses of this wish and of this moment.<\/p>\n

TM: Making a synthesis of the present situation, the philosopher Giorgio Agamben maintained that now is the \u201ctime of the community\u201d, granting it the people\u2019s representation. The artist has to head his search towards this direction?<\/strong><\/p>\n

MM: At the beginning of this century I thought that it should be solidarity\u2019s moment and that this was going to provide us with a good life. Maybe the community will be the starting place where to build the texture of a new sensibility.<\/p>\n

Translated by Victoria Verlichak.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

by Teresa Macri<\/strong>
\nBuenos Aires, 2002
\nPublished on the occasion of the Book Matilde Mar\u00edn: Contemporary Bricolage, Buenos Aires, 2002.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[],"class_list":["post-209","post","type-post","status-publish","format-standard","hentry","category-texts-essays"],"_links":{"self":[{"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/posts\/209","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/comments?post=209"}],"version-history":[{"count":5,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/posts\/209\/revisions"}],"predecessor-version":[{"id":5732,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/posts\/209\/revisions\/5732"}],"wp:attachment":[{"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/media?parent=209"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/categories?post=209"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/tags?post=209"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}