Project Plan 2008 – 09

1. Art studio proyect:

Working title:
I shop therefore i am…

Detailed description:
It would be like, to visualize myself in a post-consumist environment to discover my own descriptions and to express myself in the mediums that i been using and were i been mostly noticeable up until now. It is important to be successful on the logistic of the materials and concepts i will be using to portrait what best describes my actions. To achieve the final result involves to choose and arrange the elements to be projected into what i will be like.

How important is the image on advertising, specially food? And what symbols are used to get the consumers attencion? My work will portrait these elements and will show what i consume and how am i perceive myself as a consumer and as a producer of consumer objects. I will use the photographic media, video installations and other medias to make a theater of myself that reflect my psychological, existential and consumist profile.

Detailed production schedule:
August 2008
✓ Establish converstions with different spaces or galleries and evaluate the possibilities i will have to show the instalation.
✓ Recopilling information as well as the elements for the elaboration of the artworks.

September-December 2008
✓ Begin the artwork that will be the starting point for the project
✓ retro-alimentation, auto-definition and auto-evaluation of the elements
✓ Preparation for the photo session
✓ Preparate the wood: choose, cut, assemblage
✓ Projection and drawing of the images.
✓ Woodcut
✓ Error correction
✓ Tint
✓ Error correction
✓ Re-think the form of presentation

January to July 2009
✓ Logistic and video script, filming and edition
✓ Preparation of the modus of projection

August to December 2009
✓ Photography, Assembly
✓ Drawings and recollection of elements
✓ Impression and projection (depends on the project development)

January to May 2010
✓ Define the union of all the projects in a same exhibit
✓ Deployment of a new webspace that serve as a platform for other artist or general comunity to participate in an active way.

2. Research Plan

Working title:
I buy therefore I am…

Working hypothesis:
Could we live without advertising? In what way would we know what’s new on the market? Could we slow the train of life, production and consumption we have run so far? Is it so necessary the need for us to sell ourselves to acquire new pleasures? Why what we buy define our personalities? Do our politics have to do with the current trends in desire production simulacra? How can i let show in my work the consequences of this condition?

Description of research project:

La propaganda también tiene su lugar en este movimiento que plasma en sus obras las expresiones cotidianas como tomar Coca Cola o leer comics, coleccionar baratijas, comer hamburguesas, y todo lo que hace la vida de todos los días.
— http://artpop.htmlplanet.com/popel.htm

The dynamics of the consumerist re-mediation is based on the creation and manipulation of objects of consumption as a vehicle of control. The desire has become a shooting target for the producers of dreams. These producers use the hidden messages of mediation to induce desire ensuring the idea of necessity in every individual. The illusion of necessity, which is really a simulacra of a reality is assumed throughout the exchange of messages and propaganda and lead us to higher states of hypnotism where massive acquisition is no longer a luxury that may improve our lives but acquisitions without any apparent reason, other than show our need to possess and authenticate.

Both television and the Internet make possible the management of dehumanizing the subject of consumption and procedures of this management have made use of tools available soon for only a few, are available to all regardless of the degree of experience, source or reluctance to use.

At this moment my interest focuses on the effects of television on culture and the differences in perception and interpretation of the mediatic post-consumerist charge in my generation, specifically within the 28 to 38 years in my native country Puerto Rico. Since the introduction of the use of television in the ‘50 and the subsequent incorporation of propaganda as a mean to increase sales we has seen an increase in excessive consumerism in young adults. They no longer buy what is necessary to live but live to buy the unnecessary.

The accumulation of objects is so visible that its consequences are better seen on the existing foreign food importing policies, specially products from the US. Since the moment the media began its targeting, the puertorrican food industry as well as agriculture reduced dramatically. The government far from resolve the situation by assigning more funds to the local production invest on the infrastructure and urbanism to attract more factories and foreign companies. The reasons may be various. On one side we have the dichotomy of our political situation, where we are part of the US and at the same same we are not, the strong influence of the north american culture and the lack of a national identity that define us as a unique culture.

For this, and for purposes of this research I aim to raise the relationship between the influence of American food in our economic environment and its impact on the puertorrican young-adult consumerist tendencies. In the first intension can be seen as a superficial issue, but as you dig into the speech I will be irremediably on the need to venture into a whole system of symbols and codes economy that could raise the current model of a generation accustomed to eating.

Bibliography:

Art Now / 137 artistas al comienzo del siglo XX1, Taschen, 2002.
Bédard, Nicole, Cómo interpretar los Dibujos de los Niños, Editorial Sirio, 2000.
Biedemann, Hans, Diccionario de Simbolos, Ediciones Paidos, Barcelona, 1993.
Eco, Humberto, Travels in Hyper Reality / Essays, Harcourt Brace & Company, Florida, 1986.
___________ La definicion del Arte / Lo que hoy llamamos arte, ¿ha sido y será siempre arte?, Martínez Roca, España, 1970.
Erasmo de Rotterdam, Elogio de la Locura, Obras Inmortales, Editorial Burguera, Barcelona, 1975.
Foucault, Miguel, El orden del discurso, Tusquets Editores, Barcelona, 1999.
___________ La arqueologia del saber, Siglo 21 Editores, Mexico, 1978.
___________ Las palabras y las cosas / una arquelogia de las ciencias, Siglo 21 Editores, España, 1991.
Foucault, Miguel, La verdad y las formas jurídicas, Editorial Gedisa, España, 1988.
Freud, Sigmund, Recuerdo Infantil de Leonardo Da Vinci, _http://librodot.com
Historia Universal del Arte, Arte del Siglo XX, Tomo 10, Espasa Calpe, Madrid, 1996.
Historia Universal del Arte, Arte del Siglo XX, Tomo 11, Espasa Calpe, Madrid, 1996.
Gvirtzman, Silvia R., Psicología Infantil, _http://mu-sa.idoneos.com/index.php./Psicologia_Infantil
Elda, El Dibujo Infantil, _http://www.bebeymas.com/2005/10/18-el-dibujo-infantil
Hernández González, Eduard, El Dibujo Infantil, _http:///www.zonapediatrica.com/psicologia/el-dibujo-infantil-parte1.html
Marlowe, Stephen, El Coloso, Narrativa Mondadori, España, 1989.
Nahuma, Krala, Existe un amanecer, El Grupo Editorial, Venezuela, 1989.
Nietzche, Friedrich, Ecce Homo, Como se llega a ser lo que se es, Alianza Editorial, Madrid, 1998.
Oliveras, Nicolas de, Oxley, Nicola, Petry, Michael, Installation Art / with texts by Michael Archer, Smithsothian Institution Press, United States, 1994.

Pedreira, Antonio S., Insularismo, Editorial Edil, Puerto Rico, 1973

3. Connecting art and research projects:
Connecting the projects:
In the past I have worked on installations visual composition including narratives in the style of children’s drawings, and tribalistic totemic shapes making a comment on reason and the facets of social roles in society. Resorting to drama, fantasy and the “real”, i see a visual interpretation of the concept.

Evaluate the success of the art project:
Improve my english and my ideas to complement satisfactorily in the process of art project. Also communicating with constructive criticism that would improve both visually and aesthetically in the project.

Connect past and future projects:
To have a continuity within what i can and not lose the perspective of the line that would unite my research project. To change in one way or another the research work or visual project assume the intervention of the events and ideas learned during the time of studies.

Project Plan:
Being able to link or assemble all the roles that define my life performance and define my status as a professional within the arts community. Similarly, to extend my content parameters contained in my projects and conceptually enrich my work.