metapongDe modo que la obra se presenta como un conjunto de relaciones post-procesuales, teniendo como resultado piezas intersubjetivas en donde el objeto desaparece como finalidad en sí mismo para volverse simplemente un soporte. Es decir, trabajan implementando una serie de tácticas que generan confusiones epistemológicas, casi siempre apropiándose de discursos existentes.
Metastasis
Art practice as metastasis, by means of the constant production of stories on the artwork. This text deals with the paradigm of the artist as a parasite, and the art practice as the process of metastasis. Through this is understood that the art production relations are based in the disappearance of the art object because of its constant mobility. The quantum object of art.
Heisenberg used to say that an atom cannot be visualized because it is always in movement; its frostbite is merely hypothetic. Like in art, the object of art disappears because artistic practice is based in constant movility and relations of the variables involved in the production process.
Forensic Science
Forensic Science as medium to interpret the metastasis of the artwork. FS as tactic to reconstruct the story from apparently isolated variables. Like Foucault’s search for the power beneath things, the intentions. Or Roland Barthes’ Mythologies as a state of sub-interpretation.
The elements connected through FS are residue from the activities we performed during metastasis. The object is again visible, but collapsed, dead, inactive, static. The re-interpretations reactivate it. This does not present itself “as the orginal artwork”, but as the reactivation of the dead elements syntactically reconfigured. The syntaxis as new conception of the work: the artwork as support, not as a medium in itself.
Thermodynamics
Departing from the idea of the artwork as support, one can investigate its effects, its thermodynamic motor, so much from the stabilization of the affective temperature as of its entropic explosion. Metapong’s work starts within Isaac and Leonardo’s friendship and from there it goes to other territories. Their interest in the practice of art as social connection through indifferentiation (mutual assemblages) achieving the loss of identity allows constant discourse rearticulation. We have two bodies (supports) and the affection compensation to eliminate differences allowing us to achieve constant information flux.
Like what happens with the edifying philosophy of Rorty. Before the loss of differences (indifferenciation) the discourse vanishes and only occurs (Deleuze.) It moves constantly through Metapong’s online conversations and procedure replications (Lacan and The Master’s Discourse) while it extends to the environment in which we collaborate. This is why our tactics can be understood as inter-subjective. And because of the notion of the surrounding elements as support to our artwork may also be understood as postproduction (Supports-discourse remixes neutralized as discourses and with the ability to return malleable.)
Thermodynamics as effect of the object’s disappearance and affection’s indifferenciation leaves clear the idea that, since without discourses (identities, beings, present, stability,) the artwork becomes mobile and this at the same time can be perceived as fiction. That is to say, is not stabilized, then it is not naturalized (Peirce.) This provokes it to become latent. This mechanism can be connected to fiction from a humor paradigm. An obliging experience that even since the carnival (Batjin) presents itself as a counterpart for power (discourse,) and that Metapong uses as a series of tactics for production of art (De Certeau.)