Prof. Pilar Viviente
A world made of time
Of human becoming
Of always “now”
A now that last while life lasts
A now whose duration becomes space
A now that is the timelessness of the image
NOW become part of the realm of essences
The world in one image
Painting of silence
Among dried roses and rosy furry memories
Now I’m listening to the music you read
Pink tulle brain
Thoughts of life
Palimpsest. We Are Made of Time (1987-2022) is a multidisciplinary work of art that integrates visual arts, sculpture (as installation), music (piano solo) and poetry. In this work converge disparate elements and artistic creations with dates ranging from 1987 to 2022. It was presented for the first time in the exhibition “8 Partituras” (8 Scores), from 2 to 26 March 2022, which is an interdisciplinary project exposed in the previous March issue of Socialist Factor magazine – Viviente, P. (2022, March). 8 PARTITURAS / 8 SCORES. Socialist Factor magazine.
The visual work exhibited in the exhibition “8 Partituras” included a QR code to download the music that accompanied it from the visitor’s mobile. So the aesthetic experience is simultaneously visual and auditory. In particular, the music linked to my image is a solo piano improvisation entitled Lady Of The Unicorn – https://youtu.be/Kfcni-1Jyyg
whose relationship with the image is revealed in my brief artist’s text for the catalog published on the occasion. Besides, the text has been included in the technical data of the exhibited work. Here below I transcribe the entire paragraph:
As a performer I mean by freedom of expression playing the piano without score, form or plan. However, I started decades ago writing my scores. Even then I was fascinated by their plastic expressiveness, those handwritten scores that are now part of the work made for this exhibition. In We Are Made of Time, 1987-2021, (digital photography, handwritten score and poem by the author with a hairy object), subjective time, the elastic clock, generates a still life whose perceptible objects as a “ready-made aided” tell us about a world made of time, of human becoming, of always “now”. A now that lasts while life lasts, but whose duration when it becomes space acquires the attributes of the timelessness of the image, becomes part of the realm of essences.
The visual work on display that shows handwritten scores and a pink furry includes also in the image a fabric background with Korean texts in black on grey. This is a mantra that comes from a Buddhist temple in South Korea and that covers the seat of the piano since I bought it in 2004 at the Jogyesa (Jogye Temple), the chief temple of the Jogye Order of Korean Buddhism. You can also see in the image part of the black cover of the Yamaha piano in my studio. Both of these things are not part of the objects inside a cube related to this image, a 3D work of art that is displayed alongside the 2D visual work.
The object correlative to the image, a volume or sculptural work conceived for the exhibition “8 Partituras” consists of an assemblage of my handwritten scores (1987), a pink furry that artist Peter Cramer gave me in New York when I exhibited at the NYFW 2018 with SSG (Six Summit Gallery), a rosy tulle shaping the space and a papurrí of scattered dried roses. All inside a transparent methacrylate cube that contains it, and which can also be interpreted if you want as a scenography or choreography. In particular, it’s an assemblage of objects, manipulated as “ready-made aided” and exhibited as an installation that was completed in 2022. Petals of dried roses are scattered inside the cube but also on the ground evoking an imaginary empty square column, with visible edges or metal rods, on whose vacuum the cube rests. This is somewhat reminiscent of hourglasses. The time again. A metaphor of the difficult concept of TimThese cubes or containers with various materials and artistic languages have a symbolic value closely related to the visual image created by the artist. Specifically, the musical scores inside my cube are the scores that are seen in the image or photograph (digital print, unique). Same for furry pink. The representation (image) refers to the specific object inside the cube. Hence the importance of the text published in the catalogue, and that is why it was also on the Reference Card next to the work in the exhibition.