This statement is embodied by Communicating Artistic Organisms (CAOs), guardians of the idea that art is a process closely linked to life as raw material. Departing from conventional grammar, these devices are not simple works to contemplate; they lack a fixed and concluded form, more similar to a continuously evolving ‘cosmic fabric-weave’, composed of metallic and organic pigments constantly changing through chemical reactions, fermentations, chromatic alterations, and degradation.
The main devices of Performative Practice are the ‘Communicating Artistic Organisms (CAOs)’, accompanied in the setup by black-and-white photos of degraded corridors and cells, rows of abandoned criminal court files, that have become dusty and attacked by time, moisture, and insects. Stacked on the ground as if to protect the boundaries of walls with peeling plaster and colored by mold. Doors with iron bars, chairs, and prison furniture beds.
CAOs, as well as music, videos, and choreographies, are born thanks to and for the performative practice proposed here. Within the exhibition, CAOs enter into conflict, between purpose and accident, between aesthetic and ethical nature, between past and present, between what is no longer and what is not yet. This conflict, emphasized by the dynamic setup, persists, creating a ‘tension-filled’ coexistence that permeates the entire experience of the spect-actor.
The active objective sought to emerge from this performative practice, freed from the static universe of symbologies, is to make them become an authentic medium within a relational backdrop.
The experience of CAOs reveals itself in its deep connections with the specta-ctors, engaging them in an authentic and impenetrable manner through their body.
Recognizing the interconnection between nature and culture, where we produce ruins, we can conceive of this convergent exhibition device as part of an ever-evolving exhibition. It becomes No longer a formal synthesis, but rather a fabric, a weave of a lived experience inexorably connected.