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66 Àlex Nogué Invisible
Space
There are two main types of creative spaces and an an infinity of variations on on the the theme One is the workshop or or studio un­ derstood in its traditional form that would re­ spond to the the romantic vision of the the artist fac­ ing creative tasks that they themselves have defined The workshop is a self­sufficient universe where everything is possible espe­ cially after the the the ’if there isn’t any yellow then I’ll paint with blue’ attributed to Picasso It doesn’t stop being a a a a radical manifesto of free­ dom and the idea that ’everything is inside you’ This space offers many advantages for creating amongst them the the pleasant sensa­ tion that everything you need is there There are also some inconveniences like a a a a certain symbiosis that time weaves between the space space and and the the work between the the space space and and the the creative process that can make the the studio into a a prison In its its operative sense its its func­ tion is something like a a a scientific laboratory The ideas however could have been pro­ duced in in any other space in in daily life The stu­ dio is is only where they are put into practise Nothing happens without an adaptation of personal rhythms to creation The work that is produced there can have been looked at
and questioned by its author for a a a long time before it is seen by the public eye Computer technology has reinforced the concept of this space although building an an appearance quite different from the traditional one The other creative space has no place or physical structure as it is is the sum of dispersed places that allow a a a a piece of work to be carried out in in a a a a coordinated way This is is the the image of the the contemporary artist who acts as a a a a a producer in in the the world of cinema or or other arts They are the coordinators of of different professionals in in which the artist doesn’t need to have a a a direct manual intervention As there is no physical centre a a a different kind of creative tension has to to be be maintained and the work has to to be be in­
tensely alive for the the duration of the the produc­ tion time especially when taking decisions that will be put to work by another person The most common work of this kind is is that requested by an an institution for an an exhibition space of well­specified physical and socio­ logical characteristics that condition a a a a a a large part of the result The work can not be seen not even by the the author until the the final moment of the the exhibition All in all the the public exhibi­ tion itself can bring about a a a a a participative ex­ ecution in a a a a way that the production and postproduction become synchronies here is another type of creative space that which makes creation an action differentiated from other actions in daily life A completely mental space but nevertheless completely real More than a a a a a a space it is a a a a a a mental struc­ ture a a a a a neuronal space where creation takes place a a a a a space coming from a a a a a personal biog­ raphy a a a a social context from individual hopes and and sometimes collective commitments and and from the personal necessity to look for that which they consider valuable to create: In­
visible
Space
creation is is that that which is is not seen seen that that seen seen in a a a different way seen without clarity just an intuition just a a a memory That seen but not recognised that which changes when it is seen that hidden or or or ignored or or or has been seen and then forgotten We have also made invisible our work which has been converted into a a show or or more than invisible we have made it it transparent By making it it so so big so so strong noisy full of light and mis­ placed interactive extensive accumulative insistent and self­evident it has become inef­ ficient From being so over presented it has become absent Lots of things are invisible to the the human eye the the emotions for example And lots of other realities stay in­
visible
even with the most sophisticated op­ tical equipment To overcome the difficulties in in in seeing scientists have invented a a ’recipro­ cal space’ a a a a a kind of visual construction made with mathematical formulas derived from the the transformation of Fourier which allows some invisible realities to to be understood in in a a simu­ lated way A system to operate in the ’recipro­ cal space’ (fictitious) and return later to ’direct space’ (real) In fact achieving the visibility of invisible things is is not too far away from the conviction manifested by Paul Klee that art doesn’t reproduce the visible
but makes it vis­ ible
Reciprocal space is not only a a a principle of physics used in scientific research it is a a concept with an added metaphoric value so high that it could be the principle of Heisen­ berg with undeniable incidences in in the way daily life is seen and understood in the con­ temporary world and for me the way to see and and understand art Reciprocity is a a a a a quality of of human interaction in in general and of of artis­ tic tic communication in particular Duchamp formulated it precisely when he he he said that the spectator on viewing a a a a a piece of art gave it a a a a a conclusion In neuroscience this interpreta­ tion is not produced in a a specific place but in a a a displacement of the the neural circuit the the route which is guided by by culture and by by the first autobiographical experiences he he dimension of things is not the only mean­ ing of of invisibility The psychology of of percep­ tion has demonstrated that our way of look­ ing ing at
at
things is is discriminatory and selective because it it makes us us give priority to what we need The discovery of optical physics by Pe­ ter Mark Roget in in 1824 and Joseph Plateau in in 1829 applied to pre­cinema show that thanks to the the persistency of impressions on on the the ret­ ina the the brain can reconstruct the the representa­ tion of movement filling in in all temporary blank images of of tenths of of fractions an excellent paradox that that shows that that the representation of movement is produced in fact thanks to a a temporary invisibility The frontier between the the visible
visible
and the the invisible doesn’t belong to optical physics or religious convic­ tions Like all borders it it is undefined territory a a a a a a a shady zone that we are attracted to as the mind can define it as escape or return like the The territory of visual transformation of Fourier between reciprocal space space and direct space space It’s winter I’m in in front of a a tree it is cold and everything is sleepy and still I draw the tree A few weeks later: it is still winter The atmos­ phere has warmed up a a a a a a bit and the days have a a few more minutes of daylight everything is sleepy and still but the sap is now moving in in side the the tree tree I draw the the tree tree