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Se rumorea que… Centro de refugiados del pueblo gitano, 1999

Un rumor puede ser verdadero o falso. En cualquier caso, conforme
se extiende, opera en la imaginación pública y crea pautas de pensamiento
y de comportamiento. Se rumorea que… Centro de refugiados
del pueblo gitano es una intervención propuesta (aunque nunca realizada)
para el espacio urbano de la ciudad de Hull que continúa con el
duradero compromiso de Andújar con la población gitana en Europa
y contra la estigmatización xenófoba que encasilla a esta minoría
como «los otros». A través del concepto de rumor y «utilizando la
ciudad como medio», la intervención aspira a crear una imagen simulada
de una realidad diferente en la que la discriminación desenfrenada
hacia los gitanos se sustituye por la política abierta de «una
comunidad basada en la solidaridad». El rumor consistía en que se
estaba construyendo en Hull el mayor centro de refugiados para gitanos
de Europa. TTTP difundiría el rumor a través de los medios de
comunicación y una enorme valla publicitaria colocada en el espacio
urbano. El rumor era falso (una simulación) pero apuntaba a una
realidad existente en Hull y a una posibilidad igualmente existente
de cambiar esta realidad. Tal y como se dice en el material escrito
que debía acompañar la intervención, «la simulación crea emociones
a las que la realidad no llega». Además de las vallas publicitarias, la
intervención constaba de una serie de terminales de ordenador públicos
colocados en diferentes puntos de Hull, donde los ciudadanos
podían participar, contestando a un amplio cuestionario, en lo que
se presentaba como un proyecto de investigación social. El cuestionario,
un formato que TTTP utilizaba en diferentes proyectos en
aquel momento, se centraba en el racismo y en la percepción de «los
otros», en particular, los gitanos. La intervención, como tal, pretendía
hacer hincapié en la necesidad de reconocer a la minoría gitana
y permitirles integrarse en la sociedad sin tener que abandonar su
especificidad cultural.

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Guernica. The Art Gallery Problem: Watch and Enlighten, 2014

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In 1973 the mathematician Victor Klee posed the following question: How many guards are necessary, and how many are sufficient, to patrol the paintings and works of art in an art gallery with n walls? This question of combinatorial geometry came to concern scientists in the following decades and is the topic of numerous papers. The six drawings in this installation are speculative examples of the “Art Gallery Problem,” as the question has come to be known. Besides its obvious reference to the theme of visibility, witnessing, and (the impossibility of ) having an overview in Guernica, the drawings also suggest that the logic and rationales informing the contemporary surveillance society have invaded the conception of the gallery space. Not just the artworks but those who look at the artworks are being watched. In other words, The Art Gallery Problem: Watch and Enlighten reframes Klee’s intriguing and seemingly innocent mathematical question as a question of contested politics.

 

[The art gallery problem or museum problem is a well-studied visibility problem in computational geometry. It originates from a real-world problem of guarding an art gallery with the minimum number of guards who together can observe the whole gallery. In the computational geometry version of the problem the layout of the art gallery is represented by a simple polygon and each guard is represented by a point in the polygon. A set S of points is said to guard a polygon if, for every point p in the polygon, there is some q\in S such that the line segment between p and q does not leave the polygon.]

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Guernica. Carpet Bombing, 2012

One of the iconic figures in Guernica is the lightbulb that oversees
the scenario and provides the only light in the otherwise dark space.
Installed in the gallery space is an enlarged real-life version of that
bulb. Next to it is a ladder that seemingly can be used if the bulb
needs to be replaced. The meaning of the bulb has been interpreted
several ways. One interpretation sees it as a man-made eternal sun
or the light of reason, while another points out that in Spanish the
word for lightbulb is bombilla, which is similar to bomba, the Spanish
word for bomb. Taking its cue from the latter interpretation, the
installation also includes a large-scale projection of footage of socalled
carpet bombings, a tactic that was introduced in the attack
on Guernica and later became common in warfare. For example,
German and British forces each used carpet bombing during World
War II, and the Americans relied on it during the Vietnam War.
However, in the context of the installation, the oversize bulb serves
the additional symbolic function of throwing continuous light on the
bombing footage, making sure that this horrific chapter in twentiethcentury
warfare is never forgotten.

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