SQUASH IV: Permanencia voluntaria

Squash Editions presenta:
Permanencia voluntaria
Proyecto in situ por: TRES
Curado por: Francesco Scasciamacchia

Squash Ciprés, Calle Jaime Torres Bodet, n. 91
Colonia Sta. Ma. La Ribera
15670 Ciudad de México

Inauguración 4 de agosto 6 a 9 pm
Activaciones: 5 de agosto 12 am a 6 pm; 6 de agosto 2 to 6 pm

 

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ESP:

Squash Ciprés es un centro de squash, uno de los primeros en abrir en la Ciudad de México en 1972. Invitados a participar en la serie de exhibiciones Squash editions con un proyecto in situ en relación con el edificio histórico, la primera vez que visitaron el espacio, TRES quedó fascinado por las manchas que quedan registradas en las paredes una vez que la pelota impacta sobre ellas. A través de los años, las manchas ⎯que normalmente son vistas como algo que debe ser removido⎯ marcan las paredes del Squash Ciprés creando formas abstractas; su acumulación toma el significado de un texto oblicuo de historias individuales y colectivas que no han sido narradas oficialmente. Cada vez que una bola de squash pega sobre la pared al menos las dos personas jugando la partida (con sus historias personales y antecedentes) la marcan. Estos registros de la pelota son para TRES instancias de información acerca de la comunidad del squash, su forma de vida y la pasión comunal por el juego, información que podemos descifrar valorando y extrayendo significado de estas formas tan “abstractas”, aparentemente sin sentido.

Partiendo de este punto, con Permanencia voluntaria, la intensión de TRES es construir una historia social alternativa del Squash Ciprés a través de la fabricación de una experiencia compleja, inmersiva, sinestética dirigida a los visitantes, el dueño del espacio y la comunidad de jugadores. Este proyecto in situ está compuesto por diferentes elementos. Una intervención performática ve a los miembros del colectivo en overoles marcando las manchas con diferentes colores, numerando y catalogando cada una de ellas en honor al año, día y hora cuando fueron hechas. Una instalación ambiental sonora sumerge a cada uno de los visitantes en un audio amplificado de un juego de squash, con los ruidos, movimientos de los cuerpos de los jugadores y la potencia de la bola cuando resuena contra la arquitectura del recinto. Otra parte de la instalación invita a los espectadores a una experiencia íntima mientras recorren libremente el espacio y escuchan los testimonios individuales de los jugadores del Squash Ciprés. El contrato legal colectivo entre los jugadores más asiduos, los artistas y el dueño⎯ proceso colectivo que está registrado en la instalación sonora⎯ certifica que, si en el futuro el inmueble Squash llegara a ser demolido, a cada uno de los recurrentes jugadores les será entregada una porción de 60×60 cm del muro, en donde las manchas que ellos crearon persisten. El contrato es una promesa colectiva de reunión en un futuro indeterminado, cuando los residuos “insignificantes” del muro tomarán un valor sobre una relación a largo plazo de una experiencia humana colectiva.

Permanencia voluntaria es un ejercicio coral que incorpora, en vez de subsumir, las aportaciones formales o estéticas (las manchas) y corporales (el uso y la relación afectiva al espacio) de cada jugador contribuye a la historia de Squash Ciprés. TRES recupera elementos que son parte de ⎯en palabras del colectivo⎯ ‘una arqueología del futuro’ en donde las manchas, el muro, cada física y afectiva experiencia (sentimientos, emociones, relaciones sociales, pasiones, encuentros, gestos) son reliquias. Reliquias que se hacen efectivas en el presente, antes de que sean borradas o destruidas; ‘opuestos’ o ‘alternativos’ signos que demuestran que no existe una historia unívoca o cerrada sobre el Squash Ciprés, sino una inacabada narrativa abierta de múltiples capas hecha por los jugadores que han gastado su tiempo ahí.

Recuperar el ‘residuo’ entonces, se convierte en una forma de descifrar lo que aún está por escribirse, la historia del lugar y apuntar que hay elementos del pasado fijados en los muros (las manchas) o aún actuando (los jugadores regulares) que permiten una lectura del ‘ilegible’ presente del Squash Ciprés, así como para un cambio en su destino o futuro.

 

 

 


ENG:

Squash Ciprés is a squash center, one of the first that opened in Mexico City, in 1972. Invited to contribute to the exhibition series Squash editions with a site-specific project that would engage with such historical site, the very first time they visited the center, TRES became fascinated with the stains that mark the game halls’ walls once the squash ball hits them. Through the years, stains⎯that are normally looked at like something that should be removed—mark Squash Ciprés walls creating abstract forms, their accumulation becoming a signified ‘abstract’ text on individual and collective histories never officially narrated before. Every time a squash ball hits the wall at least the two people playing the game (with their personal stories and backgrounds) mark it. These ball traces are for TRES instances of information about the squash community, its way of living and communal passion for the game, information that we can decipher valuating and extracting meaning from such ‘abstract’, apparently meaningless forms.

Starting from there, with Permanencia voluntaria TRES’s attempt is to construct an alternative social history of Squash Ciprés through the fabrication of a complex, immersive, synesthetic experience directed to visitors, the center’s owner, and the players community. This site-specific project is composed by different elements. A performative intervention sees the collective’s members in tracksuits marking those stains in different colors, numbering and cataloguing each of them in honor of the year, day and hour they were made. One environmental sound installation has each visitor immersed into the amplified sound of an ongoing squash game, with the noise of player’s body movements and the potent one of the ball, when it hits the architectonic space. Another sound installation invites spectators to an intimate experience while making their own walk through the space and listening individual histories of Squash Ciprés’s players. The collective legal contract between regular Squash Ciprés players, the artists and the owner⎯whose collective process is recorded in the latter sound installation⎯ratifies that in the case in the future the architectonic space of Squash was to be demolished, each of its assiduous goer would be given back a portion of the wall (60×60 cm) where the stains they created persist. The contract is a promise of collective reunion in an indeterminate future when the wall’s ‘insignificant’ residuals will become instead precious meaning of a long-term collective human experience.

Permanencia voluntaria is a choral exercise that incorporates, rather than subsumes, the formal or aesthetic (the stains) and the bodily (the use of and the affective relation to the space) contributions of every player to Squash Ciprés’s history. TRES recuperates elements that are part of⎯in the collective own words⎯ an ‘archeology of the future’ where the stains, the wall, each physical and affective experience (feelings, emotions, social relations, passions, encounters, gestures) are the relics. Relics that they make effective in the present, before they are erased or destroyed; ‘oppositional’ or ‘alternative’ signs that show that there is no univocal and closed history about Squash Ciprés, but a potentially multi-layered, never ending, open narrative made by the many players who have spent time there.
Recuperating the ‘residual’ then becomes a way to challenge what is yet to be written, the place’s history, and to point out that there are elements of the past fixed on those walls (the stains) or still acting (the regular players) that can be effective for a reading of the ‘unreadable’ Squash Ciprés’ present, as well as for a change of its destiny or future.

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Bios:

TRES (Ilana Boltvinik + Mariana Mañón + Rodrigo Viñas, Ciudad de México, 2009) focused on exploring the implications of public space and garbage through artistic practices that reflect the methodological intertwining and dialogue with science, anthropology, and archeology, among other disciplines. In particular they are interested in exploring the idea of trash as a physical and conceptual residue that entails political and material implications.
Recently, Boltvinik and Viñas were awarded the Robert Gardener Fellowship for Photography of the Peabody Museum of Archaeology and Ethnology of Harvard University. Their works have been presented at ZHdK Connecting Spaces (Hong Kong); AND festival (Great Britain); Metropolis Biennale (Denmark); the public art section of the XV Festival of Mexico City FMCH (Mexico); the Amsterdam Global City #2: Mexico, WCA World Cinema (Netherlands); ViBGYOR International Film Festival (India); Festival TransitioMX_05 Bio mediations, Cultural Center of Spain, Mexico City (Mexico) among others. Individually their works have been shown in more than twenty screenings, festival and art exhibitions in Latin America and Europe.

Francesco Scasciamacchia is a researcher, art writer and curator living and working in Mexico City. Currently full-time professor in the Department of History of Art and Curating at UDLAP (Puebla, MX) he holds a PhD in Drama from Queen Mary University of London (2015). He has been one of the Critical Studies Fellows at the Whitney Independent Study Program, New York (2013-2014). He has previously worked for public and private art institutions such as, DOCVA-Viafarini, Milan; MART-Museum of Modern and Contemporary Art, Rovereto (ITA) and Arnaldo Pomodoro Foundation, Milan and presented at conferences and symposiums at international art institutions and universities, such as Van Abbe Museum (Eindhoven, NL); Mostyn Gallery (Wales); Galeria Labirynt (Lublin, Poland); Royal College of Art (London); Whitney Museum of American Art (New York); Museo Jumex (Mexico City). Francesco writes extensively internationally and he is regular contributor for Flash Art International and Mousse Magazine.

This edition of SQUASH has been made possible by the following sponsors:

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Actio abagadosDOR Nuevo Logo Color 300 dpi (No Tag) TransparentVue Logo New 2015Logo Horizontal

and Cartoleria Montenero, Milano (Italy)