Guilt: Evidences 1 to 35 (2019)

The pages of “The Guilty”, screenplay by Harry Granick, pulled and randomly intervened with acrylic paint applied using a roller, subsequently installed illegally in a private space.

The chosen title for the intervention is not coincidental: “The Guilty” is the story of the lives of three different people, three different versions of one subject. In the enactment of this screenplay, present and past are depicted through images and sound at the same time, according to each character’s point of view.

Guilt (Evidences 1 to35) is a three-act comedy: To Steal/To Intervene/To Install. A drama with a happy ending, and a double intervention: on the original work (“The Guilty”, in this case an adaptation to Spanish of the screenplay, written to be enacted and therefore doubly appropriated) and on the private space in which it is installed.

As well as an appropriation, it’s a transcendence:  from screenplay to installation. With this action, a mutation occurs in the temporality of the original work, towards a new temporality and different narrative, evolved from it.

 The “Evidences 1 to 35” are the torn pages that defy the sanctity of the finished piece of art, an ironic comment on the institutional procedures that treat contemporary artworks either as criminal evidence or religious relics, which contributes to what has been named as annihilation of culture, and its consequent destruction of heritage.

From the pictorial and aesthetic points of view, there is no purpose other than the very random action to document this theory. The use of the paint roller removes the personal print away from this piece, as it inscribes a mechanical mark that dissolves my own corporality. The result from the action of painting in this case is not a painting, but a series of objects randomly intervened and reorganized.

The title of this work leads to a very relevant reflection: what is owned and what belongs to someone else in contemporary art? Where is the limit of authorship, and who does the work of art belong to: the artist, the interpreter, the buyer, the thief, and/or finally, the viewer?

This work is a game between the autographic and the allographic, and the limits of the physical and the intellectual ownership of art.

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