Daniel Silvo


Daniel Silvo (ES)
  • Daniel Silvo, 2013
  • Daniel Silvo, 2013
  • Daniel Silvo, 2013

LA CASA, EL BÚNKER, LA RUINA is the story of how the forms and the ideas are processed within a consciousness in quarantine, or how the interpretations of the reality are mutated when people experience drastic changes. This drastic change is, in this case, a nuclear disaster. The consciousness in quarantine is the bunker and the images and ideas that mutate and change are represented by a contemporary art collection, reproduced as a collage of ready-mades with materials that could be found in a bunker, and later destroyed.This idea is developed in three stages: - We live in an ideal construction not able to face the reality, and in order to solve the problems of the reality, we must re-configure and adapt the products of the culture to our needs. This is to make ready-mades with the cultural objects, not to make them a (another) artwork, but a tool valid to face the challenges that the survival brings. - This transformation will be made in a very special consciousness state: a kind of quarantine, an isolation useful to digest.In this stomach-skull-bunker (a type of time machine), a series of artistic objects transformed the same way as a cake is converted in excrement after passing our digestive system. The world is completely transformed while the bunker is inhabited. And the bunker, at the same time, radically transform its inhabitants and their consciousness, the way they perceive and interpret the world. - During the time the bunker is inhabitated, whether is only for one night, 40 nights or one thousand years, everything changes. The world has change and the information and the culture have been buried, and the objects have been transformed in remnants that need to be explained. Thus, remnants and waste are re-conducted to a new narration. The drawings found by children on the wall are the remnants of a brief and conditioned history of the contemporary art. Brief and conditioned because it is based on the pieces acquired by some hypothetical collectors of contemporary art. The selection responds their likes, the fluctuation of the market, theinfluence of the gallerists on their decisions, the conditioned recognition of available works and artists... That is to say, the chance.Those forms, separated from all the cultural information that could justify them, is interpreted by an inhabitant of the post-apocalyptic scenario in anthropological code different to the huichol mythology. Thus, the reproductions of the works of Jeff Koons, Albert Oehlen or Alighero Boetti are interpreted as huichol representations of realities such as the venison, the peyote or the eels, The destruction of information produced while the catastrophe lasts and the quarantine is such that it is necessary to rewrite the history about what is surrounding us. This emergency is evident in the narration of the grandfather, who needs to justify in any way the presence of these plastic manifestations in that ruinous place.

EMAN/EMARE grants of Daniel Silvo

(EMARE MEX 2013)