Documentos de Académico
Documentos de Profesional
Documentos de Cultura
una sociologa del campo artstico en los proyectos del colectivo mexicano
Tercerunquinto
SUSET SNCHEZ*
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Escultura pblica en la periferia urbana de Monterrey, 2003. Foto: Tercerunquinto. Cortesa: Tercerunquinto y EACC.
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Restauracin de una pintura mural, 2010. Foto: Tercerunquinto. Cortesa: Tercerunquinto y EACC.
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Detalle de Proyecto para el Museo de Arte lvar y Carmen T. de Carrillo Gil, 2008. Foto: Tercerunquinto. Cortesa: Tercerunquinto y EACC
Documentacin:
La documentacin le da posibilidades a la obra de ser releda, de
revisar sus propios conceptos originales con otros soportes que
adquieren una forma propia. Le da posibilidades de replantear
incluso el propio documento, en tanto nos lo planteamos en un doble
sentido: el referir a la obra en sitio y el referirse a s mismo como
documento. Tratamos de posicionarnos respecto al documento no
como la realizacin de una nueva obra, sino en tanto registro de lo que
hicimos en un tiempo y espacio determinado; es un compromiso que
hemos asumido y no quisiramos verlo de otra forma. Quisiramos
Edicin:
El arte est sujeto al mercado como parte de la Institucin. Es
una estructura que pesa bastante, que legitima y tiene poder
para avalar ciertas cosas. Cuando un coleccionista conoce
la naturaleza del proyecto tambin conoce sus riesgos. Por
ejemplo, un coleccionista compr una primera edicin de Open
Access. Nos dijo que los dibujos no podan tener una segunda
edicin. Respondimos que s, porque podamos reproducirlos
manualmente, no es una reproduccin exacta, pero los contenidos
son los mismos; por tanto hay una lejana con la idea del dibujo
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NOTES
1.- Vase http://www.saps-latallera.org/saps/?page_id=253
2.- Fragmentos de una entrevista realizada por Suset Snchez al colectivo durante
el montaje en el EACC, 15 de abril de 2011.
* Suset Sanchez es comisaria y crtica de arte, desde 2007 coordina el
programa de actividades de Intermediae en Matadero Madrid.
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Tercerunquinto
SUSET SNCHEZ*
Since it was first established in 1998, and after more than a decade
of collaborative work, the collective Tercerunquinto integrated
made up of the Mexicans Rolando Flores (1975), Julio Castro (1976)
and Gabriel Czares (1978) has been developing a poetics in
which we insistently find tense situations favoured by an exercise
in sociological observation and analysis of the intervened context
regardless of its location, in the public or private sphere; or where
observation is stipulated as a relational and documentary mechanism
which registers the effects of a stimulus previously introduced by
artistic action, through which the routine of the institutional, social or
urban routine on which the collective has operated is interrupted.
The inherent performativity and gestuality of the artistic research
carried out by Tercerunquinto seems to emerge by acquiring two
different aesthetic natures which will define the character of the
action as a murmur or accident. In the former, by establishing
itself in the context of an organic mode, without any meaningful
frictions, appearing almost in a logical way, and concealing itself
behind the meaning of other social, economic and political practices
commonly found in the space under intervention. This is the case
of Restauracin de una pintura mural (2010), where a sort of reenactment of the appropriation and reinterpretation of the referent
detonates the critical sense of a historicist discourse in the artpolitics intersection. Since 2000 the collective has been interested
in the documentation of the political propaganda graffiti from preelection periods in Mexico. This project entailed the restoration of a
mural painting of the Partido Revolucionario Institucional produced
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Acceso abierto (The Power Plant, Toronto), 2005. Photo: Tercerunquinto. Courtesy: Tercerunquinto and EACC.
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Negotiation:
When you develop a project in the public space, negotiations
can be more complicated because hierarchies are dissolved.
When you arrive at a neighbourhood, they dont care who
you are, so negotiations can be more delicate. You face the
task of identifying who will allow you to introduce yourself
to each context; finding someone with whom you share a
certain chemistry. In the case of an institution, negotiation
per se is conducted in a different way. There is a commitment
on the part of the institution to carry out a project and this
is what defines the negotiation. There is a difference which
begins because the roles are better defined. In terms of
space politics, there are different dynamics, although the
public space may seem to be open, when in fact it is closed
to certain forms of negotiation, while in other contexts the
forms are more clearly established. As we have worked, we
have become aware of things in terms of power, developing
skills and being careful not to leave any spaces which would
give way to a loss of control in the negotiation process. You
learn to identify which agents you should work with, how to
penetrate those contexts, becoming aware of the politics
which regulate these situations, the natural spaces crisscrossed by art, and its final destination. Rather than defining
our actions within a concept of institutional criticism, we
prefer to speak about them as institutional negotiations.
Documentation:
Documentation offers the work the chance to be reinterpreted, to revise its original concepts with other formats
which acquire their own shape. It gives it the chance to reapproach the document itself, to the extent that we approach
it in a twofold may: by referring to the work in its location,
and by referring to oneself as a document. We attempt to
adopt a position with regards to the document, not as the
production of a new work, but as a way of capturing what we
once did, in a certain time and space; it is a commitment we
have made and we do not want to change it. We would like to
continue making interventions in specific spaces and times.
The document offers another reflection when it is reinserted
Project for the Museo de Arte lvar y Carmen T. de Carrillo Gil, 2008. Photo: Jorge Wamba. Courtesy: EACC
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NOTES
1.- See http://www.saps-latallera.org/saps/?page_id=253
2.- Fragments from an interview by Suset Snchez with the collective, during the
set-up of their display at the EACC, on the 15th of April 2011.
* Suset Sanchez is a curator and art critic, who, since 2007, has coordinated
the activity programme of Intermediae at Matadero Madrid.
View of the exhibition Otros fueros. EACC 2011. Photo: Josechu Dvila. Courtesy: EACC.
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