<div dir="ltr"><span style="font-size:13px">Thank you for your question Christina.</span><div style="font-size:13px"><br></div><div style="font-size:13px">Yes, I did work on the 'aftermaths' of the InSite project in the border between Mexico and the USA. As an artist and anthropologist - using an inter-medial methodology - I was particularly interested in making an attempt to understand what is left after a biennial, a curatorial project, an artist leaves a scene of intervention. InSite has been a very important art initiative that lasted many years in the Tijuana-San Diego border. In 2005 they had their last intervention and moved later to Mexico City. In 2013-14 I made a video called Echo based on their archive and an ethnography. By revisiting the scenes of these curatorial and artistic interventions, “echo” emerged both as a concept and a practice that enabled a reassembling of these art works, their futures, beyond their expected ruins and remains. </div><div style="font-size:13px"><br></div><div style="font-size:13px">Each work/artist and afterlife/echo of those works -after the artists completed them and left to focus on another work - raised different and enriching questions on social art, on ethics, on methods, on the people involved in the projects, on the city itself and its urban cycle, on the future of public sculpture, etc. The assemblage of archival images and current reverberations, of all sort of data visualization through video, text, voice over, drawings, interviews, of affects and representation has been a real challenge in this work, as you mention: especially in terms of methodology. </div><div style="font-size:13px"><br></div><div style="font-size:13px">The result is that more questions were opened after the initial ones. The conclusion was inconclusive: Narcissus (all of us working, representing, intervening on the border: anthropologists, artists, curators, etc.) and Echo (the context, the artists, the collaborators, the public sculptures, the objects, etc.) are clearly part of the same scenario and they are both plural and problematic in their own way...</div><div style="font-size:13px"><br></div><div style="font-size:13px">In this sense, I am not sure mine was a 'feminist methodology', but maybe yes a 'feminist sensibility', or as a long literature that started with Adorno would define it: an 'unmethodical method', an undoing of categorization, indeed a sort of ‘border crossing’. </div><div class="gmail_extra"><br><div class="gmail_quote">Best,</div><div class="gmail_quote">Fiamma</div>
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