CASAGRAFIAS by Raul Saldarriaga

“Casagrafias” (this is the name of my research) is an exploratory journey in search of a definition of “choreography” close to me. After going through many houses, workshops, sounds, smells, flavors, hugs, that my words can not name because they are ephemeral, invisible and fleeting ideas, I have reached the conclusion that makes a dynamic definition necessary, one that moves and changes from house to house, negotiating between bodies. From day to day and word of mouth. For example … I found the definition of the kitchen as “center” in my mother’s house, where everything revolves around this nurturing space. Although the kitchen is not architecturally the center of the house, it seems to be located in the center of the universe where elements of many worlds coexist. Necessitates movements, steps, a choreography co-created with tastes, foods, always in negotiation with people events and actions.

TRACES

When we trigger memories, emotions, and imagination we are confronted with the time factor, specifically when considering the inclusion of different temporalities in the work of art: its manufacture, its use /history/footprint, its decontextualization and the moment in which the viewer is confronted, in turn with his own times and past, to be decoded. All this tour is what results in an exercise of memory and imagination on the part of the spectator where present and past converge: "in these works, memory and time are dependent on each other. Through the empathic relationship of the spectator with the materials of the work, memory is activated and a revision of the past. There is an interdependent relationship between different elements: the body, space, and temporality; the presence of materials and the absence of bodies and memories; the "real" events and the imagination of the spectator" The imagination that is indispensable and inevitable when facing an object of our daily life and imaginary and traveling through them to our past to be brought to our present. As Bernard Stiegler affirms "there is no image or imagination without memory" The work of art as a counter-monument.
Representation of the antiheroic memory as a resource in Contemporary ArtMARTÍNEZ 2013, and I add that therefore, there is no memory without image (Understanding Image beyond its purely visual meaning, but rather as a construction) but a Reconstructive imagination work.

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