Diego Ballestrasse


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Statement 


Diego Ballestrasse researches the imaginary potential that contains the photographic medium, his work raises a reflection around the multiple temporalities that each image carries, as well as the mechanisms which activate memory and the inherent subjectivity in our perception of images.


Curatorship


THE TRUTH ABOUT MARACAS,
TOCANT ELS OUS (2019)  

Artist: Wioityuwoityuo
Curator: Diego Ballestrasse
Collective exhibition: ESC-OUT: deviations of artistic practices in the public sphere
Centre d’Art Contemporani de Barcelona Fabra i Coats
February - March 2019


STATEMENT

Llapispanc, under his alter ego “Wioityuwoityuo”, performs a sound action in a public space in Barcelona (Plaça Espanya Metro station). Based on an idea of individual action with a clearly playful aspect, he carries out a proposal of participation (happening) using improvisation as the only development system and inviting the public to intervene and contribute to the sound experience. This procedure is part of the artist’s musical performative project where he intends to become a musician (without being one), and in which he tries to experiment from the periphery, remaining constantly within the territory of the attempt. Through this proposal, he explores the representation of the worl of music in which he builds a simulation with all the clichés that a rock band uses on stage.

THE TRUTH ABOUT MARACAS, TOCANT ELS OUS (2019).  -Excerpt-
Live performance at Metro station Plaça Espanya, Barcelona.
January, 2019.
Artist: Wioityuwoityuo.


The sound action has an irrational tone akin to the absurdity of Dadaism, with self-realisation dynamics that consist of not foreseeing too much and taking advantage of unexpected situations that are presented at any time —using them as definitive material —; unscheduled situations that depend on who is present and what emerges in situ.


THE TRUTH ABOUT MARACAS, TOCANT ELS OUS (2019).  
Still frame from Live performance at Plaça Espanya Metro station, Barcelona.
Artist: Wioityuwoityuo.
January, 2019.


Within the framework of ESC-OUT, the performative work is presented to the audience in a place of transit, away from its usual artistic field. As a result, for the public, the action that occurs is confusing and may not be sufficiently clear and understandable given that it is tinged with a delicate strangeness. Therefore, there is no certainty that the work has materialised or that it has fulfilled its function. In this context, the search ultimately lies in the echo of the proposal and, to a lesser degree, in the concretion of the work.


THE TRUTH ABOUT MARACAS, TOCANT ELS OUS (2019)
Installation at ESC-OUT: deviations of artistic practices in the public sphere exhibition.
Centre D’Art Contemporani - Fabra i Coast, Barcelona.
Artist: Wioityuwoityuo.
Curator: Diego Ballestrasse
February - March 2019.


Wioityuwoityuo undrapes a system of representation, leaving in evidence certain games of social artifices. Throughout this playful device, the artist invites us at remaining attentive to deactivate all those realities that present us sustained under the costume of the appearance.


THE TRUTH ABOUT MARACAS, TOCANT ELS OUS (2019)
Opening performance at ‘ESC-OUT: deviations of artistic practices in the public sphere' exhibition.
Centre D’Art Contemporani - Fabra i Coast, Barcelona. 
Artist: Wioityuwoityuo.
Curator: Diego Ballestrasse
February, 2019.





Note: ESC-OUT: deviations of artistic practices in the public sphere is a project by the ON MEDIATION/6 curatorial team and is part of the collaboration between the Contemporary Art Centre of Barcelona - Fabra i Coats and La Escocesa Open Factory for Analogical Creation.

Links
· ESC-OUT: deviations of artistic practices in the public sphere
· ON MEDIATION/6 ESC-OUT: desvíos de las prácticas artísticas en la esfera pública
· ESC-OUT - Publication
· Radio Fabra interview
· THE TRUTH ABOUT MARACAS, TOCANT ELS OUS (Live performance at Plaça Espanya Metro station, Barcelona, 2019). -Excerpt-· THE TRUTH ABOUT MARACAS, TOCANT ELS OUS (Opening performance, 2019).