Driftmosh is a process that opposes production and experience. A production of captured experiences that reflects on the limits of artistic capacity as a learning model in real-time. My work/drift collects documented actions that are defined from accumulations of imaginaries and dérives inspired by the situationist movement. It is about displacing contexts from the action, modifying or altering its apparent nature to make visible new relationships. Through the recreation and representation of iconic images, new meanings are linked, re-new languages are generated with an intersection with other open processes: in visual, sound and/or textual key. They seem circular, circular, twist, circular paths, but the final form adopts a new state that is not erratic: modes of aesthetico-practical reflexivity. A constant revision of what has been learned, re-floating ideas between chance conditions, collaborating without a prior script, collecting objects in an intersubjective way or repainting an academic exercise with music. An approach to the critical sense from the activity, recovery lost or colonized spaces by neoliberal attractions. Perhaps this logic describes a method, with pedagogical connotations, in which action and thought are mixed in an extrusion of the useless as a relational strategy: understanding and criticism.
Étant donnés, Saut dans le Vide, A Bigger Splash, Magritte 1967, The Physical Impossibility of Death in the MInd of Someone Living, post-truth, The russian revolution, Concetto Spaziale, Passing through, Minecraft, Der Blaue Reiter, R. Mutt, 99 Cent II Diptychon, Fat chair, Agonie des Eros, Telesketch, Le déjeuner sur l’herbe, Raw-War, serious play, Meat me, A living door, wrapped, Secondlife... twist, twist, twist: SPECTACLE.
Edgar Massegú (musician)