Reflection during Piersandra Di Mateo:

(My notebook)

Piersandra's question for me is an existential question, and I think it is the difference between pop and what could be a conscious contemporary art. How to live from what we do and be consistent and aware enough.

For example, if you work through your ideology, establishing links with the communities, and not making them economically productive for you… I think it is a good first step.

There are two ways; one that has to do with the process of “extraction” that we do from reality. Almost like a mining company pulls gold out of a mountain. But that company pollutes the water, pollutes the rivers, causes cancer. For me there is another path, which is the clean path, how can I go to the mountain, contemplate it, be inspired, not harm the community and continue going every year to take care of the tree that I have planted there. We are always in a position of hierarchy with respect to someone, in the Netherlands I am a Latin immigrant, in Chile I am a person with university studies from the capital of the country. In this sense, with my group we are working from the ruins of a house in the southern south of Chile. For me it is a constant question, how not to do an extractive process with that community, but to maintain a relationship year after year, work with them, give workshops, and understand that it is a process of mutual learning, even when I can work and even sell this work in the future. How to be clean. consequent. In which in its methodology, in its creative process it is directed to question the extractive processes by which this system is governed, that is my hope.

My artistic practice is closely linked to the territories, I work from specific spaces; specific architectures, tours through these spaces, or scenes that are created in the territory.

This session has moved me a lot. Thanks to what she shared at the beginning, about not separating theory from practice, about not separating our dimensions. We have learned to relate to reality separately. And for me it is always a question how to relate these dimensions; political, aesthetic, spiritual and social. At the same time connect my body, my mind, my intuition with my spirit. I really appreciate all the information she shared with us, but also the place where she shared it from.

I reconnect with the feeling that we are organic antennae, that we receive and return information, we are interconnected. We are connected in the noosphere (in the mental field of the earth).

This idea that the bricks, the clock, the street, the paper, have an affective world, as I could understand from the text of Espinoza, humans and bricks have an affective world.

I am left with some questions:

What makes us create?

Is it an urgency - or is it a wish?

How to sustain desire over time?

The NO importance of art?

“SAM HSIEH very important to review”

there begins the will to continue with something.

A task:

“Become a Partisan of Possibilities”

Find or choose an urban place in the City where you live now. It should be a specific place. It can be an abandoned place or a place you wish it were different. Think and perform an act of re-appropriation or re-functionalization. Exercise your Right to the City. It can be a performing action, a sequence of images, a storytelling, a project to be curated in the future: an act of imagination. Deliberately located in a specific place, your proposition should seek to question the city itself, as a real and imagined space, encouraging desires and possibilities, opening up to different and unpredictable ways of seeing, challenging the articulation of heterotopic practices and errant paths. It’s an invitation at exploring the relationships between bodies — animated and inanimate — and urban space (and its representations) inextricably bound to issues of power. Pay attention to the memory of the places, the affective, acoustic, physiological and biorhythmic (heartbeat, rate of breathing, level of anxiety) investments.