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Mathieu Copeland & Philippe Decrauzat , Sin Título P-036-F MUAC-004-Mandala.indd 1 26/07/13 17:34 Mathieu Copeland & Philippe Decrauzat, Sin título · con Ulrich Krieger—Untitled · featuring Ulrich Krieger, 2012. Still [Cat. 6] Publicado con motivo de la exposición Mandala mental. Un proyecto de Mathieu Copeland (17 de agosto al 22 de octubre de 2013) MUAC, Museo Universitario Arte Contemporáneo. UNAM, Universidad Nacional Autónoma de México, México D.F. — Published on occasion of the exhibition A Mental Mandala. A project by Mathieu Copeland (August 17 to October 22, 2013) MUAC, Museo Universitario Arte Contemporáneo. UNAM, Universidad Nacional Autónoma de México, Mexico City. Textos—Texts Luigi Amara Mathieu Copeland Amanda de la Garza Traducción—Translation Christopher Michael Fraga Jaime Soler Frost Coordinación editorial—Editorial Coordination Ekaterina Álvarez · MUAC, Museo Universitario Arte Contemporáneo Corrección—Proofreading Ekaterina Álvarez Jaime Soler Frost Diseño editorial—Editorial Design Cristina Paoli · Periferia Taller Gráfico Primera edición 2013—First edition 2013 D.R. © MUAC, Museo Universitario Arte Contemporáneo, UNAM, México, D.F. D.R. © de los textos, sus autores—the authors for the texts D.R. © de la traducción, sus autores—the translators for the translations D.R. © de las imágenes, sus autores—the authors for the images ISBN Todos los derechos reservados. Esta publicación no puede ser fotocopiada ni reproducida total o parcialmente por ningún medio o método sin la autorización por escrito de los editores. — All rights reserved. This publication may not be photocopied nor reproduced in any medium or by any method, in whole or in part, without the written authorization of the editors. Impreso y hecho en México—Printed and made in Mexico P-036-F MUAC-004-Mandala.indd 2 26/07/13 17:34 MANDALA MENTAL — A MENTAL MANDALA — UN PROYECTO DE MATHIEU COPELAND A PROJECT BY MATHIEU COPELAND MUAC · Museo Universitario Arte Contemporáneo, UNAM P-036-F MUAC-004-Mandala.indd 3 26/07/13 17:34 Alan Vega, Sin título (Retrato #1)—Untitled (Portrait #1), 2013 [Cat. 9] P-036-F MUAC-004-Mandala.indd 4 26/07/13 17:34 Mandala mental: Las exposiciones como situación 6 Mental Mandala: Exhibitions as Situations 10 — AMANDA DE LA GARZA Un mandala mental 14 A Mental Mandala 18 — MATHIEU COPELAND A la intemperie 22 On the outside 32 — LUIGI AMARA Semblanzas 44 Biographies 48 Catálogo 52 Catalogue Créditos 54 Credits P-036-F MUAC-004-Mandala.indd 5 26/07/13 17:34 Mandala mental: Las exposiciones como situación — AMANDA DE LA GARZA Mathieu Copeland & Philippe Decrauzat, Sin título · con F. M. Einheit— Untitled · featuring F. M. Einheit, 2012. Still. [Cat. 4] P-036-F MUAC-004-Mandala.indd 6 26/07/13 17:34 Ver es siempre una operación del sujeto. Georges Didi-Huberman El proyecto de Mathieu Copeland para el MUAC cuestiona, en primer término, el papel de las exposiciones y de las obras de arte. Mandala mental se construye a partir de pensar una exposición como una situación, lo cual sólo es posible porque existe alguien, un sujeto, capaz de construir- la mediante su presencia. Históricamente, las exposiciones han supuesto la presentación de obras y, desde el punto de vista curatorial, la construcción de un discurso que amal- gama la relación entre ellas. Sin embargo, prácticas artís- ticas recientes, como el performance y el arte conceptual, plantearon un cambio en la constitución del objeto artístico, que algunos teóricos como Óscar Massota y Lucy Lippard llamarían “la desmaterialización del arte”. Hasta este punto podríamos decir que el juego está de un solo lado: el de los objetos, los artistas, los curadores y los discursos. Mandala mental parte de un punto distinto: la experiencia del espectador, lo que permite cuestionar el lugar donde ésta ocurre. Hoy día, este tipo de pregun- tas están en el centro de las investigaciones educativas y de mediación en los museos. La exposición de Mathieu Copeland plantea un quiebre en el que los segmentos que la componen no suponen una narrativa establecida por la relación directa entre las obras o por el tipo de formato, sino que se articulan fenomenológicamente a partir de una posible experiencia del espectador. Cada una de las piezas se plantea desde su autonomía, la cual está construida bajo el supuesto de que cada una de ellas representa modos de experiencia distintos. En el caso de Philippe Decrauzat, la obra está direc- tamente relacionada con el arte cinético y la abstracción, así como con algunas preocupaciones propias del minima- lismo. En la pieza presentada en el muac hay una bús- queda por producir, mediante la imagen bidimensional, una carnalidad de la obra. Por un lado, las monocromías negras, que en su densidad material fungen como sopor- te de la proyección, absorben fenoménicamente lo que se está produciendo en la imagen. El grano de la película en 16 mm permite vehiculizar el territorio donde la imagen fue producida, sea el desierto del Sahara, una fábrica textil 7 P-036-F MUAC-004-Mandala.indd 7 26/07/13 17:34 o bien la recreación de una de las acciones pictóricas de Gustav Metzger, en las que el cuadro es el acto de carácter destructivo y cuya cualidad plástica surge en esa destruc- ción. En un primer momento, la película es silente, cualidad que caracteriza al propio medio de producción: la cámara Bolex. Como segundo momento, ocurre un traslape de dos medios y de dos tiempos a medida que a estas imágenes se les superponen grabaciones de música experimental. Ade- más, las películas son proyectadas de manera coordinada y no simultánea en un entorno oscurecido, lo cual genera una alteración en la experiencia del espectador, pues se produce la inmersión del sujeto en una serie de aproxima- ciones musicales y registros segmentados de actos, lugares y espacios. En la pieza de la coreógrafa Myriam Gourfink, el tiempo acontece como intimidad del cuerpo en movimiento, de aquel que se produce de una respiración minuciosa y controlada, pues parte de su investigación en el yoga, don- de la danza es notación y, por lo tanto, símbolo dentro de una estructura que es, al mismo tiempo, presencia en acto. Ambas piezas hablan de la percepción, de lo matérico, pero sobre todo tienen como punto de confluencia el cuerpo. Son un fenómeno en el que el sujeto de la experiencia plantea un lugar desde el cual reproducir y reconstruir la experiencia, que, para Mathieu Copeland, es de carácter interno. De ahí su conexión intrínseca con la idea del mandala, que para las filosofías orientales es como la narrativa de orde- nación del universo, una representación del microcosmos y el macrocosmos. En su dimensión práctica, el mandala aparece como una suerte de ejercicios “espirituales” en los que el sujeto reconstruye ese orden perfecto mediante la repetición de patrones que son representaciones de lo sagrado y de su perfección. El tercer componente de la exposición cierra la pinza en torno al problema de la experiencia. La pieza escrita por Luigi Amara refuerza el proyecto al plantear una exposi- ción que tiene lugar como imagen mental, como resultado del acto escritural. “A la intemperie” supone una exposi- ción que se encuentra en el filo entre ficción y realidad. El espectador deja de ser testigo para convertirse en aquél capaz de producir una exposición. Surge entonces una suerte de campo movedizo donde la experiencia se vuelve 8 AMANDA DE LA GARZA P-036-F MUAC-004-Mandala.indd 8 26/07/13 17:34 el fundamento de los objetos, donde el fenómeno ocurre en la interioridad del sujeto, donde existe una suerte de borra- miento entre el adentro y el afuera, porque el afuera se convierte en la proyección de esa actividad interna. Sin embargo, este sujeto de la experiencia, pensa- do como abstracción, aun sustentado en la experiencia producida a partir del contacto con las obras de arte, se arraiga en un solipsismo que no considera que la cons- trucción de sentido en los objetos estéticos se enmarca en la historia, es decir, en un espacio y un tiempo plenos. De esta forma, la creación de sentido sólo es posible si están dadas las condiciones de posibilidad para su existencia. En esta exposición, Mathieu Copeland apela a la idea del mandala para poner énfasis en la capacidad de cons- truir, desde la interioridad de la conciencia perceptual, aquello que acontece en el afuera, en el mundo del cuerpo y de los objetos. La exposición Mandala mental aparece en- tonces como un supuesto, como aquello que aún no ha sido realizado, completado, experimentado, vivido. Sucede de la misma forma en la que los mandalas buscan traer a la con- ciencia del presente el acto artístico, pues la exposición sólo puede realmente ocurrir como fenómeno en la mente de aquel que percibe, registra, establece relaciones y genera a partir de lo que está ahí afuera, una cuarta narración sus- tentada, o no, en puntos de contacto o en anclas de aquello que ocurrió ahí. MANDALA MENTAL. LAS EXPOSICIONES COMO SITUACIÓN 9 P-036-F MUAC-004-Mandala.indd 9 26/07/13 17:34 Mental Mandala: Exhibitions as Situations — AMANDA DE LA GARZA Mathieu Copeland & Philippe Decrauzat, Sin título · con F. M. Einheit— Untitled · featuring F. M. Einheit, 2012. Still. [Cat. 4] P-036-F MUAC-004-Mandala.indd 10 26/07/13 17:34 Seeing is always an operation of the subject. Georges Didi-Huberman Mathieu Copeland’s project for the MUAC questions, in a first instance, the roles of exhibitions and works of art. A Mental Mandala is constructed on the basis of thinking an exhibition as a situation, this is only possible because someone,exists as a subject, capable of constructing it through his or her presence.
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