Upcoming Projects

Rehearsal Of The Present. 2020/2024

2022: Galleri Riis, Oslo, Norway
2023: Kunstnerforbundet, Oslo Norway
2023: Bomuldsfabriken Kunsthall, Arendal, Norway

The Stele of Mesha is a black basalt stone tablet ordained with an intricately engraved
inscription. Preserved from the ancient Moabites civilization (tribes of Canaanite origin that settled on the East bank of the Jordan towards the fourteenth century BC), the stone is engraved with text that is the most extensive inscription recovered in the paleo-Hebrew alphabet.
Unlike the permanency of stone engraving, our culture writes its own history in the ether.
In a single minute in our contemporary world, 38 WhatsApp messages are sent, 266,000 hours of Netflix consumed, 4.3 million videos are watched on YouTube and 3.7 million searches are performed on Google. So many of our own scriptural efforts disintegrate in time with remarkable ease.
However, If the Internet could be considered a country, it would be the sixth most polluting nation globally.
Such a relentless dynamic generates a peculiar kind of pollution, useless information or “junk information”. Usually, this is considered a minor problem seeing the intense environmental crisis that our planet is suffering from today; we live under the premise that the planet and our civilization is in substantial danger. But the relevance of “junk information” lies within the contemporary interaction between human beings. The impact on the stimulation of knowledge and the creation of behaviour patterns makes it a significant threat to humanity’s balanced development.
Our brain is forced to assimilate massive clusters of information and resist the advertising harassment of big commercial brands daily. Excessive consumption of this misinformation leads to over-saturation of our senses, developing into a loss of consciousness contact of humanity with the physical environment and generates remarkable levels of stress, anguish, and frustration.
Starting from this problematic assumption and affirming that art is mainly an instrument of expansion of knowledge -focused on analyzing the depth relationship of man with the world-,
the project “Rehearsal of the present” has a prevalent relevance.
Today, art as a tool for social awareness is more important than ever, especially during this crucial time that we are in, facing the global pandemic.
It is important to share our experiences and vicissitudes to serve as a guide that will be transmitted from hand to hand, from generation to generation.
In my practice, art is a tool to improve social-collective awareness and share experiences on a common and affordable platform.

The starting point is the viewer’s life experience, a new facet in my work: I invited several people to short recording sessions and asked them to describe for me an episode of their lives in which they were affected physically, emotionally, or psychologically.
The sounding grounds respond to the familiar nucleus, work environment, academic, friends, power relations, etc.
Each recorded anecdote must have a maximum duration of five minutes; these
recordings are then pressed onto vinyl, specifically a 7 inch at 45 rpm record.
In addition, each story is interpreted metaphorically and eventually turned into an object.
The experience, inherently ephemeral, acquires a solid body. As an example, anecdote no. 6 — which deals with domestic inter-conjugal abuse — has been transfigured in a single-burner stove. You can hear the story of this object here.
Each of these objects, while participating in the notion of a symbol, will not feed on the intrinsic character of the ready-made. Instead, the objects created will be mimetic copies, made of plastic and epoxy to eliminate all notions of utility.
The materials used in creating the works are an essential aspect of this work’s narrative, which gives the viewer a certain sensory distance. The copy is a simulacrum, a spring that will allow the public to question the real as absolute.
With the technique of lacquer Cutting Lathe, the different collected stories will be recorded on the objects as a vinyl record.
While appropriating the vinyl record’s meaning and characteristics, I want to emphasize its repetitive and standardized character and commercial condition: a symbolic gesture of critical content that seeks to rethink specific aspects of envisions contemporary art as a veneration mechanism, even in those episodes in which it condemns and criticizes.
I emphasize that the purpose of art is not to solve conflicts but to warn the contemporary man of the zones, processes and unsuccessful experiences of our history.
All the objects involved in the installation can be played and heard as if they were ordinary
vinyl records. This is thanks to a machine specifically designed for the project, a product made by the work and collaboration of a group of technicians specialized in electronics and technical mechanics.
During the show, as a performative act, I will invite the public to voluntarily donate stories that will later be turned into object-discs.