The notion of replica is crucial for the western fictional construction of space and time. As with amusement parks or World Expos, in cave replicas distances and waiting times are hightened and fragmented in order to fit a comprehensible experience and keep up attention and excitement. Reality is too vast for our participatory rythms, shapened by the culture of music singles or video compilations.<\/p>\n
As Bataille noted, the Lascaux cave \u201cparticipate[s] in the spirit of the festival overflowing the world of work, necesary for the protection of this world\u201d. The excuse of protection led to the closure of the real cave and the production of the replica. In every translation there is always an interpretation.
\nThe politics that permit a reduction of life cycles into artificial rythms have powerful implications. Opposite to natural cycles like the seasons or natural light times, the fictionalization of people\u2019s experience and the use of confected temporalities to have established productive fictions like electoral cycles or working days and weekends. The politics of the replica, as we will call it, help to reduce history into comprehensible terms and interpretations. The visitor wants to belive, so the visit to the replica legitimizes other fictions and multiples.<\/p>\n
Economic development implies overproduction and superfluity. The time reserved for leisure is a crucial ingredient of consumer society as leisure itself becomes a major source of business. Crisis demands editing and measuring the object\u2019s relevance. The positive aspect of systemic crisies provokes drastic editing.<\/p>\n
Elastic history.<\/strong><\/p>\n History is written by those in possession of language and the tools of expression. Taking this one step further, after Walter Benjamin, the next logical step in a validated history, depends on the ability to reproduce and spread narration.<\/p>\n The Eurocentric construction of reality and its ability to authenticate and overwhelm the world with its version of history is provoked by the capacity to overwrite others\u2014that is, by symbolic overload. Exercise of the unnecessary.<\/strong><\/p>\n The works in Skins address notions of surface, the superficiality of time and constructs of relevance and necessity. They lean physically on the phenomena and technology involved in the replica. In the beginning we mentioned an \u201cindustrial metabolism of magnifying losses\u201d. Here we suggest a constructive use of that loss. We aknowledge that the 3D scanner (unlike human visi\u00f3n) sees no image. It\u2019s a selective eye, that touches with ultrasound waves, not with light. It just reads form and volume. X-Y-Z. The scanner used in those caves read the same naked volume that these prehumans confronted. No color, no representation, no magic symbolism. Just raw, connotation-free-cave-skin; but yes, with a delay. The delay of techne, the same one that borught them to foreground. After that file what has happened is a production of the cave surfaces by the same procedure, companies and workers that took part in the production of Altamira cave and others. Skins uses the language and imperfections of the replica not to hide its structure, but to make it transparent and bring the walls to a stage prior to human intervention. They refuse to represent anything but themselves.<\/p>\n They are just fragments of a larger totality, edited by historcal chance. It\u2019s not a rewind or a fast forward, its more reformatting that wall information into a real previous to representation, liberating them from the historical, political and cultural weight acquired through time. Carlos Irijalba. Amsterdam 2014<\/p>\n <\/p>\n This exhibition takes part in the Off Section of:<\/em><\/p>\n 7 October\u2013 11 December, 2021<\/p>\n Galer\u00eda Juan Sili\u00f3 Opening Hours: Saturday\u00a0 10:30 \u2013 13:00h. \/ 18:00 \u2013 21:00h.<\/p>\n","protected":false},"featured_media":6182,"template":"","expos_categories":[55,50],"class_list":["post-6140","exposiciones","type-exposiciones","status-publish","has-post-thumbnail","hentry","expos_categories-2021-en","expos_categories-santander-en"],"acf":[],"yoast_head":"\n
\nA clear example is furnished by recent cave discoveries in Indonesia. Found in the 1980\u2019s there was no rush to date them, and once they where dated were proven to be 40.000 years old. There was no rush make this public, especially when the new replica of Chauvet in France is about to be inaugurated in 2016 with an investment of 60 million euros.
\nThis leads us again to the Eurocentric or Franco-Hispanocentric perspective, revealing how history also erases history using capacites to set up a standard or to dictate what is pre- or post- in relation to sanctioned measurement.<\/p>\n
\nThe scanning technology used in the \u201890s reproduce the cave in a manner redolent of the technological horizon of that time. Is through technology that the visual is engineered, and we only know the visible contingencies of the past through the defined interventions of particular technologies of the present.<\/p>\n
\nThe result is a file that has no depth, and no cultural information. An interpretation enslaved by its time, a time of exponential mutations.<\/p>\n
\nThere is no restoration posible, for any restoration is a new object. These pieces deal with that finiteness of the replica by reformatting the wall skins on an exercise of the unnecessary.
\nThey constitute the timeline of a surface in relation to self-reflective anthropocentrism. The contemporary time-cut of the replica, especially its simulated resolution, represents a technological temporality. Entropy and acceleration merge with quantity and overload. We bear witness to a viral dimension of the ontological exercise through which our place in the universe is decentered.<\/p>\n![\"\"](\"https:\/\/juansilio.com\/web\/wp-content\/uploads\/2021\/09\/logo-PHEspan\u0303a.jpg\"){kind=logo}
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AND THE WALLS BECAME ALLERGIC TO HUMANS: METABOLIC REPLICA<\/strong><\/h5>\n
\nC\/ Sol 45, bajo. 39003 Santander.<\/p>\n
\nThuesday \u2013 Friday\u00a0\u00a0 17:00 \u2013 21:00 h.<\/p>\n