Somebody on the equator is constantly traveling approximately 1000 mph due to the rotation of the earth, while someone in Buenos Aires (latitude 34) is traveling approximately 825 mph, while somebody in nyc (latitude 49) is traveling approximately 760 mph, while someone in moscow (latitude 55) is traveling approximately 560 mph. No wonder time slows down the closer you get to the equator.
If we consider our own experience of time throughout the course of our lives, most people will recognize a sense that time passes more and more quickly the longer we are alive. I can say definitively that my temporal experience of driving to the grocery store when I was about four (a ten minute drive in space-time terms) was perceptually equivalent to about 1 (spacetime) hour of driving when I was twenty four. Why is this? The most convincing explanation seems to be a proportional account of time whereby it is measured not as an accumulation of segments, but proportionally, in relation to a whole, defined by time lived. In other words, we have always lived a total of 1 (1 life). Therefore, any space-time measurements should be taken as segments proportional to that one life. If I have lived 2 years, 1 year = ½ of a lifetime. If I have lived 10 years, 1 year = 1/10 of a lifetime. If I’ve lived 30 years (as I now have) 1 year = 1/30th of a lifetime. Similarly, when I’m four, 10 minutes is 1/52596th of my lifetime. When I’m twenty four, one hour is 1/52596th of my lifetime.
The tetrahedron, the octahedron, the cuboctahedron, the star- tetrahedron (merkaba), and many intermediate transitional figures are born from the pascal triangle taken to four dimensions, with figures drawn according to number groupings. Growth is simultaneously internal (intensive) and external (extensive). These sketches were made in December of 2010, and were later lost.
La escultura, Infinity Also Hurts, en su ranchito temporario, guardadito del frio.
“esta en la puertita tapada con muchas frazaditas
y con dos caras rotas
me dijo pedro que venia un vidriero pero
no ha aparecido ni el viedrero ni pedri
Hace poco un periodista me hizo una entrevista por el des(hecho) hacia mi escultura de Mauricio Macri, Jefe del Gobierno de la ciudad de Buenos Aires en ArteBA. A continuación publico la entrevista como lo mande, y siguiendo el link pueden ver lo que salio publicado en la revista.
-¿Cómo es su desembraco como artista para exponer en la argentina?
La primera vez que visite Argentina supe que en algun momento viviría en este pais. En el 2005, necesitaba generar espacios nuevos y la situacion politica de mi pais me volvia loco, asi me vine a BsAs a vivir. Muy pronto encontré la cárcel de Caseros. Ese ediifcio me impacto profundamente y de alguna forma extraña capturo mi ser. Empezé a pasar todo mi tiempo desarollando 16 Toneladas: una accion en las tenieblas de Caseros que consistía en romper miles de vidrios para crear caras que se reflejaban con la luz del sol, y desaparecían con la demolición del edificio. Luego segui trabajando en ese lugar durante cuatro años documentando su demolicion, su abandondo, y su reclamación por la naturaleza.
-¿Es la primera vez que expone en el país?
No. He expuesto en varios lugares en capital y otros municipios de la Provincia, y soy parte del colectivo ALA, que empezo su viaje en Buenos Aires a principios del 2009.
-¿En qué consistía su última obra artística presentada en arteBA? ¿Tenía un título como nombre?
Es parte de la obra “Time Drops in Decay – pozos, tumbas, horcas.” Time Drops in Decay, es una serie de estructuras flotantes, hechas de espejo, vidrio y silicona, que viajan por diferentes cuerpos de agua evitando los sistemas mundiales de vigilancia. Despues de ver la eficacia con la que actuaba la obra en la inauguracion de ArteBA, la renombre “Infinity also hurts (El infinito duele).”
-¿Conocía a Mauricio Macri antes de lo ocurrido con su obra en la exposición?
Solo por trayectoria, no por amigos en común.
-¿Se enojó cuando se enteró de lo ocurrido con Macri y su obra?
No me enojé cuando me enteré, porque pensé que era un accidente, y cualquier persona puede tener un accidente.
Pero cuando vi lo que salió en cgc, me pareció que la actitúd de los dos – Macri y el periodista – era bastante pueril, y revelaba su relacion con lo que estaba a su alrededor.
-¿Qué se siente al vender su trabajo a causa de el error de otro?
El error, decia Bourroughs es creer en el fraude monumental de la relacion entre la causa y el efecto.
Vamos a ver hacia donde llega esta serie de hechos y deshechos. Una de las características de esta obra es que todos sus momentos se siguen reflejando por dentro hasta que se acaba la luz, y ahi se mezclan en una especie de sopa transtemporal. En todo caso la venta de una obra de arte es casi siempre arbitraria.
-¿Piensa seguir exponiendo en el país?
Yo amo a Argentina, y estoy trabajando en varias propuestas para hacer en y alrededor de Buenos Aires, incluyendo una seria de esculturas flotantes (similares a la expuesta en ArteBA) en el Riachuelo y una selva vertical en Barracas. Ademas tengo mucha material de la obra que hice en la Cárcel de Caseros que me gustaría mostrar en algún momento.
y aca, la nota como salió publicada:
A Time Drop in the MiauMiau Estudio stand at ArteBA.
“Hola hermano…Mision Cumplida…..
Te cuento que la operación fue todo un exito…La maquina del tiempo esta reposando en la zona joven de ARTBA, despues de habernos hecho viajar a todos en la aventura alucinante de trasladarla…
Mariana la Mexicana, Cristina, Jorge, Mariano y yo….
primero la ingenieria del embalaje: telas y cartones…mas o menos como una pelotica con base…luego pasarla de un balcon a otro..como haciendola pasar a otra dimensión, luego una cuerda…apoyarla sobre la baranda del balcon; arriba cristina, Jorge y yo….sosteniendola, abajo Mariana y Mariano esperandola con las manos abiertas…en esa posición estuvimosmas o menos 15 minutos y yo aferrado a ella, sin querer soltarla, cagado del miedo… llego el remizero, buena onda(cosa casi rara y mistica por estas tierras) y yo ahi, aterrado, aferrado, sin dejarla bajar,,,hasta qe el remizero me me dijo..hay que dejarla caer…bajo comoda y feliz y abajo estaban manos amigas recibiendola y haciendola reposar en la calle…Luego se monto como una princesa en la carroza escoltada con toda la comitiva hasta la rural….alli quedo…Yo creo que la vas a vender, pero ya me encariñe, nos encariñamos de ella..jejejeje
Parce toda una aventura y gran enseñanza..todo un gusto ayudarle..pa las que sea Papá…
Go to the museum with someone who has an extra student ID.
Explore the museum until you generate a decent level of museum fatigue.
Go to the big open gallery on the second floor.
Sit on the edge of one of the padded benches facing the nearest wall.
Lie back and let your head hang over the edge of the bench.
Make yourself comfortable.
Artistas en Latino America is currently gathered in Rio de Janeiro for its third encounter, with a base of operations at the independent art space Barrancão Maravilha. The opening is March 26 from 6pm on, and the show will run from March 29th until April 20th. Welcome one and all.
Art fair to fund Artistas en Latinoamerica’s Rio de Janeiro encounter, Cuaresma.
jueves 4 de marzo 19:00hrs
ayacucho 1640 pb2, Buenos Aires, Argentina
viernes 5, sabado 6, domingo 7, desde las 16:00 hasta las 20:30hrs
Wulsin will examine the transformations of a decomposing emblem of modernist dystopia, exploring kinds of time and themes of historical resonance and architectural immanence through the lens of the 16 Tons: Caseros Prison Project.
DATE: Tue. January 26th, 2010
TIME: 7.30 pm
VENUE: Mendenhall Room
North Court, Entry G or H
205 Elm St.
AIAS and UMass Amherst’s Department of Art, Architecture and Art History invite you to a talk by artist Seth Wulsin.
Wednesday, January 27, 2010 • 7:00 pm – 8:00 pm
Studio Arts Building • The Commons (2nd Floor)
UMass Amherst Campus
For more information
I’m out in Denver for a week scoping out sites for a project with Museo de Las Americas this summer. The cold here is a pleasure, and the sunlight is stunning and cinematic. The title of the exhibition is Liberadores, which I’m having a bit of trouble responding to in my non-liberated state. Let us pray.
A talk by artist Seth Wulsin:
Thursday, 7 January, 7 – 8pm
364 Leonard St Brooklyn
“All have left the house, in reality, but in truth, all have stayed. And it’s not their memory that stays, but their selves…” – Cesar Vallejo
Join us for a talk with artist, Seth Wulsin on Caseros Prison in Buenos Aires, through various stages of its demolition and occupation. Wulsin will examine the transformations of a decomposing emblem of modernist dystopia, exploring themes of architectural immanence, historical resonance and the human survival complex through the lens of the Caseros Prison Project.
16 Tons was a direct action on the 22-story Caseros Prison building, that sought to connect the scales of human perception and cosmic movement, through the filter of demolition architecture, revealing hidden dimensions of place and physical history as the prison building disappeared. After five weeks of onsite work, 48 faces (aparecidos) spanning 18 stories shined out from the prison at varying times of day. Over the course of the next year and a half, the building was demolished floor by floor, and with it the images.
Seth Wulsin’s work explores spaces between dimensions. He has shown in solo and group shows internationally, and has done artist residencies in Argentina,
and Colombia. In recent years he has won Peter S. Reed and Thendara Fellowships. He currently lives in Brooklyn, NY and Bogota, Colombia.
Many thanks to Gabriela Alva Cal and Mayor of Eyelevel BQE for hosting this talk.
Organized by Xenia Pachikov for Platform Programs. Kontakt@platformed.org for more information.
Platform for Pedagogy is an initiative to advance a culture of cross-disciplinary public lecture attendance and to develop the lecture as form. Platform Programs is an auxiliary set of resources for supporting and producing public events.
Yesterday I arrived back in Buenos Aires, and walked past the little coin bank to see how it was doing. The coin bank was located in the wall outside the entrance of a school that trains private security guards. This little opening had been sealed up with a metal grate, the coin plant was nowhere to be found. The paint on the wall that said ‘Mini-Banco de la Nacion’ is still there.
There are illegal foundries on the routes outside of the city where the coins are melted down and then sold as metal.
The shortage is a stifling factor for the economy since many merchants refuse to sell a piece of candy or a bag of chips unless one can pay with exact change.
As part of the project ‘Cajitas – minigalerias para la crisis economica’ a network of miniature exhibitions in found spaces throughout the city of Buenos Aires, a plant called “la planta de las monedas’ (the coin plant, aka Jade) was planted in one of the mini-galleries as a simple and sustainable solution to the coin shortage.
The reflective spaces I’m working on are a manifestation of something I’ve wanted to do for quite a while, but haven’t had the time or space.
For the moment, I’m building a series of ten icosohedra, each about a yard in diameter out of mirror and glass, and fastened with silicone. Generally, 18 of the sides are mirror facing inward, and two of the sides are transparent to let light in and sight inoutin.
The spaces generated by the vertiginously reflecting mirrors are discontinuous and overlapping, creating a certain kind of charge that’s quite exciting. The overlap of the physical space of the shape, the visible reflective spaces (there are certain space-tentacles produced by the opposing pairs of mirrors that stretch off into infiniti, or nothingness. I guess it becomes nothingness to the extent that the nature of visual perspective changes based on whether the distance between a viewer and a vanishing point is physically traversable), and the spaces that remain visually inaccessible, but are implied by the geometry layed out by the visible reflective spaces, gives a palpable experience of two or more things existing in the same space simultaneously.
I’ve been thinking about forms of filing information, and the relationship between information and physical matter, and an apparent tendency in the evolution of human methods for recording and preserving information (i.e. the materiality of the hardware is proportional to the lifetime of the hardware divided by the accuracy, or level of detail, or quantity of information. A rock lasts longer than a book lasts longer than a vinyl record, last longer than a cessette, lasts longer than a cd, lasts longer than a dvd…I’m exposing how outdated I am by stopping at dvd).
Mirrors embody a certain limit of reproduction, which goes to the heart of the paradox of a continuous perception of time. A perfect mirror constantly reproduces something where the lifespan of the recording is no longer than a moment, whatever that is, and which appears as fast on the heals of the event which it is recording (apparently simultaneous with, but according to physics, the time it takes for light to travel from the object reflected to the surface of the mirror to the mind of the beholder, which already opens up a giant abyss of uncertainties) as possible within the limits of space-time relativity. The medium which records the information is, effectively, nothing, since it is reduced to a surface, which has no thickness. There is a certain amount of physical material necessary to produce the conditions under which a reflection can take place—but the actual functional material of the reflective surface has little or no thickness, i.e. is effectively two-dimensional. It may seem that I’m mistaking transmission for recording. But in this case (as with all “live” transmissions), transmission and recording are nearly simultaneous, or the record may even disappear before the the transmission has finished, as opposed to situations where a transmission is produced by a more stable recording with a slower rate of decay. Sorry to digress.
The project deals with limits, inner and outer spaces, physical and optical spaces, non-physical spaces spanning beyond the limits of their physical vessels, symmetries, and an essential possibility of the world constantly creating an informational record of itself which exists, not in the muddy vaults of our amazing, yet limited conception of space-time, but in a dimension that we could simply call Information, if it weren’t so unpoetic, the collective unconscious, imagination, the mysteries, maybe we could call it the growing fishbowl, or The Planet of Lost Things, the name of a wonderful children’s book that made me want to become an astronaut. Then there are the points of consciousness, or superconsciousness, where this information becomes accessible to varying degrees (the word information makes me cringe slightly, but I can’t think of one more apt right now), critters, people, and their meditations, sciences, epiphanies, oracles, gods…
I realized while building one of the figures, and thinking about the blown-glass spheres that used to wash up on the shores of the west coast (japanese fishing buoys that had drifted across the pacific), that the icosahedra, effectively glass spheres, if sealed properly, will float. So I’ll set some of the figures out to sea (the back of the mirror, has a wonderful mustard-yellow color), and sink some into the ground (with one glass face exposed) in unexpected places throughout the city, like graves (there’s some image form a story or an essay where a writer talks about the inner walls of a coffin becoming reflective the instant the coffin is closed—a terrible thought), and suspend some from lamp-posts or trees.
The working title is Pozos, Tumbas, Horcas, which, translated literally means Holes, Graves, Gallows. The Pozos float on the water, the Tumbas go in the ground, and the Horcas are suspended. (in english I think I’ll have to call it Gas, Gallows, Guillotines) The shapes themselves are like fire on ice, or ether, and the slight inaccuracies of the triangular sides gives rise to a whole set of irregularities in the geometry of the reflective spaces, and even gives rise to curves, which is a miraculous relief when dealing with so many straight lines and delineated spaces.