Matter Performance And Mineral Expression

Abstract

Body has perhaps been a central issue of art since the mid-20th century. The performative turn includes not only artist's body importance in the work of art, but also that of the spectator through the configuration of spaces, scenes and multiple forms of interactivity and participation. However, this importance is usually focused on the role of the human body. Even when the work itself takes the aspect of the purest object presence, as happens for example in the American minimalism of the 1960s, its interpretation, from Fried to Didi-Huberman, claims the relationship with the human figure and its commensurability with respect to form. In this work we would like to explore a form of corporality that is unintelligible when measured with the scale of human organicity. As happens, for example, in the work of the Peruvian Ximena Garrido Lecca, art can traverse and problematize non-human bodies, and not even living ones, as expressive forms that produce imaginary and formal structures beyond any anthropic horizon. If, as Deleuze and Guattari indicate in A Thousand Plateaus, metallurgy allows us to think adequately of the material's philum, then it is possible to trace the outline of a material aesthetic based on geology or minerals, which could think of imaginary production based on material configurations and of the mineral bodies.v