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.

CONSTELLATIONS

Each object is full of referents when we put two objects together images arise that relate the two objects with a new meaning.

The object (s) help us travel through a constellation of referents, images, and memories that tend to make different connections and transitions between them. there is an infinite number of invisible threads that come from the object to our private gallery of associations and interpretations. another person, although he does not share the same gallery of associations and interpretations, can travel through those threads or those transitions that I created as a choreographer, using his own referents. the transitions mark a way forward, to kind of connections that can be used with different galleries. the meaning of the images are not shared but the transitions and connections.

We could say that the object is an intermediary between the artist and the spectator, as well as a point of union and important continuity. Given that both artist and viewer belong to a group and its social matrix, and therefore a shared set of collective memories, readings and imaginary associations, the act of interpretation that is carried out by both participants when facing an object or work dissolve some of the differences between them. "Appeals to the universe of references and the capacity of association of both the creator and recipient" Transfers: from the everyday to art, from art to

everyday life HERNÁNDEZ 2004 so "the object in the work raises a double dialectic: the one that is conformed within the work and a second that marks its relationship with the outside, with the world"

The work of art as a counter-monument.

Representation of the antiheroic memory as a resource in Contemporary Art MARTÍNEZ 2013,

the latter being the one that highlights the importance of both entities since it is indeed the viewer who is responsible for carrying out the necessary readings so that the action, question and proposal exposed by the author and the work. Therefore, the work must answer both to the narratives and rules of art, as well as to the social sphere, either to be integrated or to question themselves from their position.

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