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            [title] => Erik Tlaseca // Everything Here Still Seems To Be Under Construction And Is Already A Ruin
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Arnhem, city levelled to the ground in the Second World War, his renovation and the apocalyptic potential of transformation gave birth to the project of mexican artist Erik Tlaseca, member of artist-activist platform Cooperativa Cráter Invertido.
 
During his residency at Motel Spatie, Erik Tlaseca was drawing from his long interest in the dichotomy of the cave - as a natural phenomenon and a ruin - as a result of collapse of a man-made architecture. He used a multidisciplinary approach that he was developing over the whole course of preparations. His final installation and the whole event was a crossing of many artistic positions, ideas and discourses. In the end, he used installation, drawings, video and spoken word backed with music as an elegy for both past and upcoming decay. The resulting container-cave in the garage was just an tip of an iceberg.
 
Erik started his research with a series of elaborate drawings depicting the "idea of the cave" or "caveness" as a sensual quality. Combining these drawings with fantasies of urban decay, violent protests and autonomous squatting movements, he began scrying the history of Motel Spatie's immediate surroundigns - the Presikhaaf district and namely the Winkelcentrum Presikhaaf.
 
The whole Presikhaaf was built upon a former swamp in the afterwar period as the part of city renovation. The rubble of the ruined city was used as a foundation for the whole new urban project. Winkelcentrum Presikhaaf, an agregate of flathouses and a shopping mall became  pride of the whole country and the whole renovation effort. But after sixty years, new ruins start to develop even in the former pride of the city and the whole district becomes a place where the minorities are pushed. This moment of loss and the appearance of cracks was put under Erik's investigation. He took trips to the abandoned parts of the Presikhaaf shopping mall to document the empty corridors and decaying air conditioning by a creeping camera movement. The resulting footage was used as a base for a writing, telling an post-apocalyptic story of detachment, urban decay and abandonment.
 
The idea of positioning an enclosed trash container into a garage itself became a sort of an experiment in politics. By probing the trust and unwritten rules of maintenance of the neighborhood, Erik intended to create a space of expection, an Burroughsian Interzone. Interzone is a term that Burroughs used for his famous Moroccan flat where he wrote the Naked Lunch. A flat occupied with his friends for the purpose expansion of the Self through extensive writing, drug use and abandoning the outside rules. Erik tried to use this idea to test the rules of the neighborhood by filling the garage with an enclosed trash container and opening it to the public. By this gesture, he created a posthuman cave, a fissure into the standartised modernist dream. He has then filled the cave with various trash - discarded e-waste, debris, pieces of concrete salvaged from abandoned Presikhaaf mall and covered it all with a layer of cement.
 
The resulting installation was then turned into a backdrop for an event - the footage from the ruins was screened on the walls and Erik recited his text inside, backed up with live noise music. Drawings and photos from the whole course of research were exhibited at Locatie Spatie and a further publication of them is planned. The container itself remained in place just for a short time - to be moved back to the trash with the whole installation in it... 
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Crater Invertido exploded on september 16th, 2012 in form of a warehouse downtown Mexico City, where affinity groups and existing collectives decided to join forces (GrupoDe, Siempreotravez, Biciperras) to share a space for creating organizational threads. In the spring of 2013, we ignited an Editorial Movement (Casa del Lago, 2013), a space and time dedicated to self-publishing and collective study, transforming the experience in our small-press called Cráneo Invertido, that crystallized in the acquirement and put-into-practice of LAEL our MZ Riso the bonfire of our commons (thanks to our implication with the Arts Collaboratory network). 

Twenty years after the zapatista uprising, we participated in a collective exhibition with the Pabellón 1994 (La Curtiduría, 2013), a series objects-actions used to ritualize and discuss over the images produced by media, resistance and power that precise global year and its consequences in the neoliberal contemporary reality in Mexico which we are product of.

In 2014, after the disappearance of students by obscure narco-state forces, we beated main plaza with peaks and shovels searching for some answers in the midst of rage and confusion (Picos y Palas action, 2014). At that time we already had moved to a house in San Cosme, where a communal dinner is self organized each thursday by members of the net.

That same year, Okuwi Enwezor invited us to participate in the 56th Bienal de Venecia(All the Worlds Futures, Arsenale, 2015), where we showed a big collective drawing, an activity we like to do a lot while being together. Not quite understanding our doodling gesture inside the heart of the art world, we revisited that piece for the Yakarta Bienale (Neither foreword nor back, 2015) , showing fragments of it as part of an illogical calendar called Today. Quasi-simultaneously, Casco asked us about our construction of imaginary and its relation to time; a collective room for study was mounted and a residency invitation concluded in more uncertainties and common intuitions as well as in the phantasmagorical appearance of the Hot Winter Ghost Press (We are The Time Machines, 2015-16).

Already in 2016, a friendly call invited us to show in Teoretica, an excuse used to formally digress and produce over the imaginary of the Brick (Pienso Luego Ladrillo), laboring again as a workshop-that-is-an-exhibition. At the moment, we are doing fires and making smoke signals as part of our participation in the Sonsbeek international festival hosted by Ruangrupa. Now Crater Invertido host a free media experience and sound editorial (Radio Tropiezo), a co-op of co-ops dedicated to the full editorial cycle (Taller de Produccion Editorial) , an animation unlearning seminar (Vacaciones de Trabajo), plus other more informal seminars and working groups ( …and some uninvited rats, WElcome!).

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México, D.F., 1989

Graduated in Visual Arts from the National School of Painting, Sculpture and Engraving “La Esmeralda”. His work focuses in themes such as memory and fiction. He was teacher assistant in “La Esmeralda” from 2014 to 2015. In 2013 he made an academic exchange to the National University of Colombia in Bogota. His texts have been published in The Venice Ideological Guide and the magazine La Tempestad. He was a founding member of the Cooperativa Cráter Invertido. Currently he’s part of the collective “Zúngale” and co-editor of the “Zúngale Comix” anthology, He was selected for the grant for the second period in 2014-2015 in “Jovenes Creadores” for FONCA in the Alternative Media category. He was selected to form part of the Maju Kena Mundur Akademi of the Jakarta Biennale 2015 in Indonesia,

 

[quote] =>


Five statements about my work: 

1. My work grows from subjects as the uncanny, violence, death or memory; products of the syncretism of my country. Coming from a “mestizo” (mixed-race) country, which itself is an unfinished identity,

2. Why to be self-collapsing and contradictory? Because it’s this liminal place where I can reach a sensorial response. I search a form that can propose other shapes of shelter. 

3. My work as an artist exists on the side of an answer for a question that has not been asked, a space where I feel confused and try to improvise whenever is possible. 

4. I don’t to yearn for a final explanation or self-consciousness. Instead, this unfinished quality gives me more questions and ambivalent answers. If something is too clear it doesn’t really attract me anymore.

 

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Erik Tlaseca // Everything Here Still Seems To Be Under Construction And Is Already A Ruin

Erik Tlaseca // Everything Here Still Seems To Be Under Construction And Is Already A Ruin

August 4, 2016 14:31 PM
Arnhem, city levelled to the ground in the Second World War, his renovation and the apocalyptic potential of transformation gave birth to the project of mexican artist Erik Tlaseca, member of artist-activist platform Cooperativa Cráter Invertido.
 
During his residency at Motel Spatie, Erik Tlaseca was drawing from his long interest in the dichotomy of the cave - as a natural phenomenon and a ruin - as a result of collapse of a man-made architecture. He used a multidisciplinary approach that he was developing over the whole course of preparations. His final installation and the whole event was a crossing of many artistic positions, ideas and discourses. In the end, he used installation, drawings, video and spoken word backed with music as an elegy for both past and upcoming decay. The resulting container-cave in the garage was just an tip of an iceberg.
 
Erik started his research with a series of elaborate drawings depicting the "idea of the cave" or "caveness" as a sensual quality. Combining these drawings with fantasies of urban decay, violent protests and autonomous squatting movements, he began scrying the history of Motel Spatie's immediate surroundigns - the Presikhaaf district and namely the Winkelcentrum Presikhaaf.
 
The whole Presikhaaf was built upon a former swamp in the afterwar period as the part of city renovation. The rubble of the ruined city was used as a foundation for the whole new urban project. Winkelcentrum Presikhaaf, an agregate of flathouses and a shopping mall became  pride of the whole country and the whole renovation effort. But after sixty years, new ruins start to develop even in the former pride of the city and the whole district becomes a place where the minorities are pushed. This moment of loss and the appearance of cracks was put under Erik's investigation. He took trips to the abandoned parts of the Presikhaaf shopping mall to document the empty corridors and decaying air conditioning by a creeping camera movement. The resulting footage was used as a base for a writing, telling an post-apocalyptic story of detachment, urban decay and abandonment.
 
The idea of positioning an enclosed trash container into a garage itself became a sort of an experiment in politics. By probing the trust and unwritten rules of maintenance of the neighborhood, Erik intended to create a space of expection, an Burroughsian Interzone. Interzone is a term that Burroughs used for his famous Moroccan flat where he wrote the Naked Lunch. A flat occupied with his friends for the purpose expansion of the Self through extensive writing, drug use and abandoning the outside rules. Erik tried to use this idea to test the rules of the neighborhood by filling the garage with an enclosed trash container and opening it to the public. By this gesture, he created a posthuman cave, a fissure into the standartised modernist dream. He has then filled the cave with various trash - discarded e-waste, debris, pieces of concrete salvaged from abandoned Presikhaaf mall and covered it all with a layer of cement.
 
The resulting installation was then turned into a backdrop for an event - the footage from the ruins was screened on the walls and Erik recited his text inside, backed up with live noise music. Drawings and photos from the whole course of research were exhibited at Locatie Spatie and a further publication of them is planned. The container itself remained in place just for a short time - to be moved back to the trash with the whole installation in it... 

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Crater Invertido

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Erik Tlaseca

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