Paratext#30 with Anna Irina Russell, Lucía Egaña Rojas and Tere Recarens

This name, Paratext, hides a monthly programme of presentations by the artists residents in Hangar of long and short duration, as well as the international residences, always on Wednesday, from 19’00 to 21’30 h. Various artists will be presenting in different formats, concrete projects or parts of their work. The sessions are always open to the public in order to facilitate interaction with the artists themselves.

The next Paratext session will take place on Wednesday 24 October in the Sala Ricson of Hangar, at 7 p.m. They will present their projects:

Her artistic practice is based on leisure as a tool for research and approach to the immediate environment. She works from the creation of absurd situations in order to decode the established psychological and social constructions. She is interested in dynamiting the relationships between body, space and object from the disconcerting and unusual, using interfaces as a space for interaction. Both in the action / performance or in the interactive installations with which they work, they have a real-time and alive component that understands the public not as an object but as an essential subject that becomes a part of the action. The uncertainty and improvisation of the moment makes it possible to break down, mutate and adapt to the reactions produced to the proposals put forward. Although it often uses installation, action and video, its practice is deployed in various formats, taking into account the context of each project.

Lucia’s work can be considered bizarre, scavenger and hybrid, and can be understood as a positioning, an activity (discursive-creative), a methodology and devices that take on different forms. Experiments that go from informal pedagogies (a workshop in a community centre for example) to the publication of a text (in press, books, fanzines or in a blog), from the accomplishment of manual activities (collage, crafts) to the practice of domestic witchcraft (tarot readings or rituals), or even videos or installations in their most larval stage.

Some of his work has been aimed at explaining the importance of opening up codes, explaining why it is necessary to know how a creative / political / cultural process is constructed and question the implicit logic behind the presentation of final products which conceal the procedures that made them possible. The opening of codes is linked to free software, which uses as a material tool (computer and applications), as well as epistemic and political model (ways of working). “In this sense, it does matter how I do what I do and with what work to talk about what I speak, and how what emerges from these processes maintains a relationship overlaped with contexts, materials and people.” It is inevitable to mention feminisms as the engine of these processes.

Tere Recarens is an interdisciplinary artist from Arbúcies and lives in Berlin. As an artist she works everywhere and especially with people outside the art scene. She is curious about her surroundings and the society. Her work is like a long journey from one place to another, enriching every project with the encounters she makes along the way. She is walking hand in hand along the roads of Bamako, Barcelona, Paris, Berlin and Tehran. Tere is traveling through time and geographies, disproving cultural boundaries and erasing the ones that have been raised between life and art. Her work appears to follow the wide and ambiguous spectrum that unites and separates the artistic from the non-artistic, immersed in a sensitivity that speaks of art as something surprising and amusing in which the artist shares her experiences – her life – with the spectator, recovering the romantic dualism of art / life.
More than work, it is convenient to speak of an attitude that does not pretend to educate but to invite the spectator to participate. Because play and work in situ are constant in the work of an artist who combines research and spontaneity.