This is not an exhibition; it is a shipyard. This is not a shipyard; it is an exhibition. We do not aim to
synchronize them; we do not aim to multiply the asymmetries of such an effort. In the constant exchange of signifiers and signified we stand as the triangular edge of the parasite tripod, the (dis)harmonic noise of amplified spatiotemporal perception. Multiple points of interest as seen by multiple points of view, all expanding horizontally, all in a conglomeration of potentialities, not of routes or narrations, but of an internal cohesion, open in a constant transformation as long as the assembled elements are reconsidered under new perspectives, spatial or temporal. An assemblage of repeated minorities, of hidden or disguised objects, of potentialities, of the very inhabitance in its simultaneous presence and absence. Each of the narratives unfolds separated, while at the same moment merges in its dissolution, as presented into an one-time only effort of combining with the others. Narratives which vary from one another in all possible senses, in all sensual potentials.
A disoriented shine from the spatial structure by the very factors which form humane spatial perception, lights, darkness, vivid colors, icons and text. Factors which become the points of interest, factors which themselves create spaces in space, vanishing the limits of our perception, disorientating us. A scale in its aura, absent of typical spatial elements and distinctive objects, evolving on our unconscious reactions, on memories which are created by the very mapping of their emergence.
An expanded interpretation of space as an inclusive condition, in which differentiations of its characteristics are imposed by our perceptional attitude. A narrative which is born as an unrooted unfolding, gradually escalating in visions of a space temporally inhabited by non-inhabitants, of a common ground for forms of unstable stabilities. But above all, a spatial perception which intends to witness time as an in space action, curved on the very surfaces that perceives.
Spaces which interrupt the norm of their rhythmic, spaces which define their existence as conditions of exclusion. Corporeal potentials with the capacity to slow down the moment. People seated sharing a slower moment, spaces where others feel unwilling to invade, foreigners creating invisible limits. Spaces which merge scales, defining their visual and sensual geography.
Walking, stopping, turning, walking and stopping, paths which evolve. Hints on space or moments of disappearance. Tendencies are recorded, attractions which exist in non-spatial terms but are expressed through their capturing in time, as conditions of repetition and exclusion. Field of attraction, of interaction, recorded as an effort of exposing, if any, behavioral patterns of a conditional inhabitancy.
Space as seen not beneath the glasses of distinction, but as a unified, unique, in-time experience. Space in its presence, in its past and future, merging temporalities and objects, spatial elements of hidden time tracks which formulate our perception. An amplified affiliation, which forces movement, imposes speed and routes, folds in memory, seeks memories in its folding, destroys and creates all what is to be seen, embraces all what is to be felt.
All five narrations stand out as lonely fibrillations on a plane of immanence. They exist here and now, they can exist everywhere, forever, as long as they are re-assembled, positioned in new angles, shapes, paths, notions and perspectives. They are memories of an inhabitance intending to track and reconstruct the memory of their very execution and existence itself. Small lights or black holes, exposed in their similarities and differences, an act of mapping which is open to any new input, and therefore able to evolve into constantly renewable outputs. The memory of space is the space of memory, in which spatial construction is the genealogical byproduct of prospected memory, of formulated patterns and predispositions.
It is neither a shipyard nor an exhibition.
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