Víctor del Moral, Isaac Olvera
Reading time: 16 minutes
Artists Isaac Olvera and Víctor del Moral talk with Diego del Valle Ríos about the potential for dislocating the certainties created by language. If the constructs of a system that denies the possibility of otherness reside in the word and the text, what is left for the body to subvert of the languages that organize it?
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TN: Here, the artist makes a play on words, combining the word for “other,” otro, and a slang term for “anus,” orto, into one word: “OrTrO,” the “other anus,” aka the mouth, the other entrance into our body.
Lecto-sculptures are sculptures that integrate the act of reading/writing as a fundamental part of their structure; this is accomplished through performative mechanisms that use the word (written or spoken) as a vehicle that offers the spectator a physical and tangible relationship beyond the text. Here, the notion of conventional reading is blurred, and at the same time it displaces the “fixed” idea of a sculpture from its pedestal. The combination of the verb and subject resides in the same body as the word. It is a term that is always mutating, that auto-edits itself and moves. For this reason, it could be said that, more than a term, it is a beginning: a term that never ends.
TN: “Yo soy” means “I am,” and “somos” means “we are” in Spanish.
Participation in Vicente Razo’s Jornadas de poesía administrativa in Entre utopía y desencanto, curated by Sofía Olascoaga.
The idea of a social stage is related to cultural cycles: after having become accustomed to a state of affairs, the asphyxiation of such a situation explodes into an event—to paraphrase Alain Badiou discussing the birth of revolutions. In this sense, a social stage is a project of a temporal and spatial character that begins with a theatrical moment in order to create the conditions that will allow the public to understand what happens, and to become accustom to the situation; and, as a result, so that certain rules or languages can be created that will subsequently break with the rhythm of the performance, into an event, which none of the above allows us to understand, but which gives it meaning. Under this form, the body of the audience and the performer acquire a major meaning as volume in space.
As part of the reanimations of Natasha in dinners, bars, and museums, in one occasion we ended partying until dawn in the house of one of her friends, in a neighborhood that had a bad reputation. On another occasion, my body did not resist the weight of hers and my dolls fell asleep for several months.
“Men of my age on dating apps look as though they’re somewhere between adults and teenagers, businessmen and office workers, mature travelers, parents, conservative subjects, who are more established than interested in change. The marginal philosophy—which nobody is interested in Cambridge or Oxford—cuts bits off the verb ‘to be.’ Neither I, nor am I. ‘Ah, a 36-year-old man with good vital signs…let me guess, he’s coming in for a venereal disease…’” (May 8, 2017).
“After the performatic reading in the bookstore, Lhlhlhlh invited me to their house. Lhlhlhlh and Lhlhlhlh also came. Yes, Lhlhlhlh who went to the same high school where I studied, who came to show their work at the Lhlhlhlh museum. Their fingers, attitude, commentaries, and make-up (———————). In Spanish, as in any other language, you can guess where someone is from their accent. Too much perfection around me, made me want to leave.” (April 5, 2015).
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