Even in the body

The process of research I've been carrying out in the past few years tries to be a reflection about the impossible. "Impossible" as meaning experiences and learning that don't belong to reality but are inscribed within the Real; therefore, they can't be captured within a positivist and factual logic. There are no words to name the impossible, it cannot be neither rationalised nor said. However, we need to make it decipherable, for our own existence depends on it. What cannot be seen needs to be named. How? Through which language? Which way will lead us to the mysterious shelter of those names that, in the form of images, deliver themselves in order to be chosen among the rest? As human beings, we are obliged to play the eternal game of trial and error, not with the intention of finding a definitive way, but with the urge of opening a path while making, sealing the ground with our own tracks.

The question will then be how to put it into work, how to operate, how to work.
My proposal tries to find a "gesture" that would arise from the body and that, entangled with the work itself, would break through a portion of the Real, getting closer to it. The work process lies on the retroaction of the operation itself, in which the reflection has to be taken literally: its folding back unto itself .The pure form of "what has no answer" finds its resolution in the indetermination. We cannot know the impossible, but we can get a glimpse of it through the most powerful of the senses: intuition. We may call it love, lack, desire, alterity. We can force it into the categories of time and space. We may describe it as the mysteric, the divine, the sacred or the absolute. We may give it infinite names, but even so, are we certain that we have named it?
The impossible is the human being's sojourn. My works attempts to approach or slightly touch the impossible, inscribing a gesture in it, so as to provide it of some form (although temporary) and be able to pronounce it. Gesture and pronunciation need a body as a means of articulation, a body that would agglutinate them and transform them into... reality?

My work aims to investigate which place has been left for the body facing the impossible, what names, graphism and inscriptions can the body offer. The work is the battlefield of that body-medium before what cannot be said but certainly needs to be named.
The impossible, hence, is unthinkable; however, the body needs to give it a name and put it into action. In other words, it needs to build a metaphor to take hold of it. The metaphor I find today for naming the impossible, is death.

Why death? The only thing we are certain about is the fact that we were born and that we will die. We don't know what happens before, during or after. Dying: we are sure about it and we should walk with it and in it. Death appears then as the only possibility of existence. Living is living for death. Without death there is no inhabitance.

The body of my work wants to be being, not necessarily by transgressing the boundaries of shape, but by being itself a track, a gesture.

Following Heidegger, the work of art sets up a world. "The work of art keeps open what is open in the world". The work creates a world and invites us to inhabit it. It is in this world where, through the instalment and performance of the work, the event sprouts, permitting the emergence of that which, in the act of hiding, allows itself to be seen.

nicolás spinosa
barcelona ‘06