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3 .6.2 Itineraries of the Construction Ruben Tortosa

Itineraries of the construction: After (the wait) From the preposition AFTER followed by the wait, in brackets, a space to the complexity is opened and the union of different sceneries in continuous transformation, evoke, somehow, everyday situations and places that converge at that very instant of evolution. Accepted in the affirming certainty in which something is going to happen, waiting, will shape reviewable realities. Beckett raises in the play Waiting for Godot, the infinite and useless wait, in an absurd poetic of the event where the characters wait for something will never happens, divoid of final resolution. That, the unfinished therefore endless. On the contrary, AFTER (the wait), adopts the concern of time, of what after a temporary sequence, will occur or return to happen. The time, in this case, in opposition to Beckett will transform the space, offering an opening or a new situation for reconstruction. The causality of the wait is comprised as a starting point of the event. The itinerary of the image under construction, together with the processes negotiation, stands as a fundamental axis of what could be predictable or not; it articulates the hybrid speech of the work setting. While I observe, day by day, the seemingly dead tree branches, I am certain after the Winter its sap will resume a new cycle. During this time of wait, I register a snipped stopped in the present and from a visual language capable of changing my percepción of different situations arising “after”, I formalize a reality translating it into images. From a look set in the construction, destruction and reconstruction of fragments in different scene, the visual language starts shaping from a capture, its mediation and finally its visualization/print on the format that arises from a complex network of cross-curricular processes that end in transfers on sheets of oil paint, vernishes with latex, in a kind of a sempiternal sedimentation of the image. The image layers refer us to different time layers. Places already served their purpose, change slowly to be transformed. In their place, a new space will be constructed. The event reoccurs but its structure is new. There is no copy. In the same way as Deleuze and Guattari said in ‘Rhizome’: “It is not a question of this or that place on earth, or of a given momento in history, still less of this or that category of thought. It is a question of a model that is Cover - Ruben Tortosa. “Itineraries of Construction” Figure 1 - XPIRAL+MTM. Pormetxeta Square Structure Figure 2 - Ruben Tortosa. “Temporary Sequence II” Figure 3 - “Temporary Sequence I”, Digital format transferred on oil/vernish. 114 x 74. 2010 2

perpetually in construction or collapsing, and of a process that is perpetually prolonging itself, breaking off and starting up again.”1 Everything changes, now, constant and rapidly around us. Different images in transformation processes, introducing, somehow, the event that occasionally could have preceded them, marked by a single moment, activate negotiation devices that suggest me a narrative sequence of the transitoriness and transformation of places. In this case, Pormetxeta Square through the records during XPIRAL+MTM building process and David Frutos’ photographic record. To look through screens, to mix, put, remove, multiply, merge, alter, etc., is set as an action of work, in which processes acquire great relevance. From the image capture by a “non retinal”2 digital record of the screen, until its final display in a status light (monitor or projection), or pigment (printer), a digital pattern is introduced. A pattern that leaves no scars in its seams. It is not a matter of generating objects as contexts and cross-disciplinary processes to explore the relationship between art, arquitecture, engineering, design, sociology, etc. Fluid and transformable worlds appear, working with hybrid entities. The portability and availability of the devices allow us to keep looking continuously, capturing and building images. It is not about to experiment with the new formats but to trace the patterns and contexts underlying in these medias. We are witnessing new stores of virtual memory in a new visual set of rules unlike the photographic always related to memories, to the fact itself or to what was in front of the lens and is no longer there. As Juan Martín Prada stated in his book “The Digital Condition of the Image”, it is “The image being there. Because the image we comtemplate on the computer screen is being partially generated on it every moment being interpreted by an specific software and visualized according to the monitor kind and configuration that shows it. The instant of presence of those visual shapes before our eyes, is a testimony of a stage of their production. Increasing undifferentiation, therefore, between seeing the image and the image’s ‘state of being”.3 In this order of the gaze through screens, I am interested in the relation with the enviroment, adapt myself to a new space-time meaning in order to bring closer its approaches, although in our contemporary society, these approaches arise “now”, because by the time these lines are read, the world has already changed enough as to begin creating again. Baudrillard wondered ¿How far is the world? ¿How to fit the focus? From the great engine of the contemporary visual, that is, the Internet Network, I return to reconnect through the site ftp:// with XPIRAL, to access to folders and sub- folders that contain the lightness of the data turned into images of Pormetxeta Square building process where the architecture embraces the space and the climate (nature). Understanding that this construction Figure 4 - Rubén Tortosa “Printed of Print”. Digital print transferred on acrylic polyurethane. 80 x140 cm 6

Figure 2 - Detroit Hildeberg Project, MosĂŠ Ricci

and transformation of the habitat, is like an urban laboratory, capable of catalyzing architects, artists, urban planners, photographers, etc., to think and work in a participatory space of communication and creation. I start downloading megas of codes which the computer will rebuild in virtual images of the constructive process: rain, clouds, workers and photographs of the finished work, taken by David Frutos. Raw material to be cannibalized, turned into layers willing to modifications, becoming an appropiation of the process, operating with them, subjected to a crisis of recontextualization. I wait while downloading. After (the wait), as Alberto Giacometti used to do, we must keep looking once and again until we observe something we had not noticed, but, undoubtedly, was there before. In our case, to shape a new revisable reality, that reality, of a Pormetxeta Square that has already changed.

Notes and References

1. DELEUZE, Gilles; GUATTARI, FĂŠlix. Rhizoma. Ed. Pretextos. Valencia 2003. Page 47. 2. Non Retinian Look Concept, stablished from The Look trhough digital appliances and devices as scanners, screens, etc. where the image is not seen by our retina. See TORTOSA, RubĂŠn, La Mirada No Retiniana: Electronic Prints from the Horizontal Register and its Visualization throug Printing. Ed. Sendema. Valencia 2011. 3. PRADA, Juan Martin The Digital Condition of the Image. Digital Art Awards Catalogues. Extremadura University. Ed. Extremadura University. Camarena Palace Architects Official Association of Extremadura. Badajoz. 2010. Page 44

Figure 5 - Plaza Pormetxeta, Xpiral Figure 6 - Plaza Pormetxeta, Xpiral

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