One of the dimensions of contemporary art focuses on the relationality of the object and its approach to the public. Through a series of coordinates, materials and experiences, a field of possibilities opens up, whose composition responds to the intentions of the encounter. Thinking as the artists Marcolina Dipierro and José Antonio Orts think leads us to consider the multiple ways in which the object, sculptural and electronic, creates the link, power and action of a perceptual and affective situation.
In one plane, which is the white wall, the stainless steel and aluminum stand out, accompanied by a sensor that connects with the viewer, a beam of light, a piece of rubberized leather, a red bow focuses the attention, breaking the geometric composition and highlighting the link, the fusion between artist, work and visitor, who, for a moment, become together a union, connected by a shared game, in which the three recognize themselves as participants in the same location. Orts talks about circuits and functions that match shapes, about photosensitive tubes that capture the movement of air and ambient light, transferring these inputs to the phosphorescences of light and color. Marcolina combines the tension between materials of different origins, thinking about the assembly with humor, almost as a resonance of the poetic object, even finding in the formal a capacity for contained action, for suggestion of the possible, be it a noise or a silence contained in the inner emptiness. In both, the legacy of minimalism and playfulness has accumulated, vectors that have determined the interest in the situation of the encounter between work and public, to question how we perceive, how we relate to the environment and to others, whether they are objects or bodies, and how these assumed, established, normative guidelines can be altered by bond, action, interaction, and intuition. Orts made toys, and that animation of the object is still valid in his work, Marcolina treats her pieces with the care of the artisan, from whom she knows the rhythm of the material.
In this reality that we have had to live in, a confusing network of co-dependent relationships, and standardization of human behaviors, as if they were also globalized products, the strange becomes uncomfortable, and we prefer the security of what is repeated, before attempting a profound transformation of the dynamics of domination, which entail exploitation and corruption. Is there another way to relate? That is the potential of the sculptures of Marcolina and Orts, which seek in the attention of the relational, an egalitarian, poetic, playful bond, whose radicality opens a process, an approach, in which everything can be different.