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Amat Pisces talks about confronting with automatism through its deconstruction. It talks about multiple transformations that are perceived at the same time, about the short circuit of past futures, and about a gradual adulteration of some simplicity that really never existed.
The performance in this video took part of the festival "Noise Map", Espacio Pulpo, 03-03-23, Palma.
There's a common appreciation that states a difference, more or less sharply but equally present, between art and technical process, on the assumption that the latter is potentially affordable for anyone with the right access to it while the true artistic fact is only within the reach of some privileged and particularly gifted ones.
Art is the will of being art, and the possibility of making it possible relies on the technical process, and on intelligence and intuition. Within the frame of art creation, none of them could survive without the other. From the will of melting both processes in an indivisible organic one, is born Amat Pisces.
There's a common appreciation that states a difference, more or less sharply but equally present, between art and technical process, on the assumption that the latter is potentially affordable for anyone with the right access to it while the true artistic fact is only within the reach of some privileged and particularly gifted ones.
Art is the will of being art, and the possibility of making it possible relies on the technical process, and on intelligence and intuition. Within the frame of art creation, none of them could survive without the other. From the will of melting both processes in an indivisible organic one, is born Amat Pisces.
Amat Pisces is liturgy and automatization.
Liturgy is here understood as the set of norms and attitudes that separates the technological fact from its users with the help of a meticoullously arranged ritual. That definition covers, at least partially, the complex piramidal reality of the art world.
Amat Pisces seems to be simple but proposes an overwhelming severity. It dissolves art and technics through the harmony within basical processes of the first videoart (like analog feedback), the current digital live-cinema and performance itself.
The beginning of this chain is physical reality, with the setting up of different objects over turntables. The consistent and continous turning movement of these elements starts the scenographic approach.
We have a set of two monitors, two turntables and two cameras for doing the analog feedback in both the visual poles of the performance set. The different elements that are going to go placed alternatively, over the turntables, respond to a defined narrative, that is reinforced by the musical line that is being live generated by programming techniques.That latter process guides the last of the visual outputs: a big final projection out of the live (and sometimes referred) video image of the objectual narrative taken by both cameras.
All this complexity is hidden (at least partially) for not to set aside the public from this evolutive liturgy, initially sentimental and finally solid and hammering.
