Tuesday, June 16, 2015

Blanco y negro, 2015

This is the second presentation of the project "Black and white". The first exhibition took place at "Casa de los Coroneles" 2014 under the tittle "Avec le temps" 2014. The piece is an ongoing project that explres our perceptions about death.

"First we must reach a stage of change. So we must recognize that in the philo-sophical us there is no classical Termi-peaceful coexistence of opposites vis a vis, but a violent hierarchy. One of the other two terms governs (axiologically logically etc.), or the-upper.
To deconstruct the opposition, first of all, we must cancel the hierarchy at any given time. For the conflict-operate-we forget the troubled structure and the subordination of the opposition. "

In his theory of Derrida opósitos alert ejerciada deviation on the perception by the exist-ence of antagonistic terms, opposed language. What it should have been complementary antagonistic and / or hierarchical (male / female, old / young, love / hate ...) This perception leads to a vicious ten-er understanding. And in no area it is this reality so evident as in the binomial life / death.
How is it possible that in their respective definitions seem like one exclusion of the other and vice versa? Have you thought humans could isolate and conquer that way?
In this unexplored area of ​​the possible inclusion of opposing pairs we are particularly interested in the tour through a combination that considreamos essential and that is the binomial life / death. Today it is impossible to imagine life without their eventual disappearance, much as humans are em-Pène otherwise.
We propose an exploration of death and life concepts from a multidisciplinary perspective, creating such an installation. Mainly through video projections, some pictures and various objects will be reflected in our exploration of the gallery space, opening the specta-dor the opportunity to delve into these concepts, from a deconstructionist perspective.

Saturday, November 29, 2014


Avec le temps, 2014
rosa mesa/Thomas P. Proffe

“En primer lugar debemos llegar a una fase de cambio. Para ello tenemos que reconocer que en la filosofía clásica no hay una coexistencia pacífica de un vis a vis, sino una jerarquía violenta de los términos opuestos. Uno de los dos términos gobierna al otro (axiológicamente, lógicamente, etc.), o es superior.

Para deconstruir la oposición, ante todo, debemos anular la jerarquía en un momento dado. Para superar este conflicto debemos olvidar la estructura conflictiva y la subordinación de la oposición.”


En su teoría de los opósitos Derrida alerta de la desviación ejerciada sobre la percepción por la existencia de términos antagónicos, opuestos en el lenguaje. Lo que debería haber sido complementario es antagónico y/o jerárquico (hombre/mujer, viejo/joven, bueno/malo...) Esta percepción nos lleva a tener un entendimiento viciado de la realidad. Y en ningún ámbito queda tan patente esta confusión como en el binomio vida/muerte.

¿Cómo es posible que en sus sendas definiciones la una parezca como exclusión de la otra? ¿Ha pensado el ser humano que podría aislarlas y de esa manera conquistarlas? 

En éste área no explorada de la posible inclusión de los binomios opuestos nos interesa en particular el recorrido a través de un binomio que consideramos esencial y que es el binomio vida/muerte. Hoy por hoy es imposible concebir la vida sin su eventual desaparición, por mucho que el ser humano se empeñe en lo contrario.

“We must first at all arrive to a point of change. We need to recognize that classical philosophy does not allowed a pacific relationship, a vis a vis, between opposite terms but rather a violent opposition. In this construction one of the terms governs the other (axiologicaly, logically…) or it is superior to it. To deconstruct the opposites we must go beyond the hierarchy, we must forget the conflictive and subordinated nature of oppositions”.

In his theory Derrida warns us about the wrong perception motivated by the existence of these opposite terms in our languages. What it should have been complementary is antagonistic/hierarchic (man/woman, old/young, love/hate…). This perception moves us toward a wrong understanding of reality. It is in the opposition between life/death where this mistake is clearer.
How is possible that in our dictionaries the definition of death or life does not include the other? Has men thought that excluding one from the other could avoid death?

We are interested in exploring this unknown territory this binary opposition, death versus life. Our existence is only conceive through the experience of both life and death, we have not evidence of after life experiences or ways to avoid our body extinction.

Monday, July 20, 2009

About rosamesa&ThomasPProffe

Since 2005 when the artists met each other in Barcelona they have worked in several projects. “Project Jaume Sabartes” was the first one, presented at the International Games of Ephimeral Art in Barcelona, the piece was a public intervention in the Plaza Jaume Sabartes, behind the Museo de Picasso. The piece was thought to denounce the expropiation of the families that inhabite the plaza for hundreds of years.
The expropiation was done by the city of Barcelona and then it allowed the development of a free space in the backyard of the most popular museum in Barcelona. It was an outrageous invasion of the artistic institution in the lifes of people without any benefit for the neighbours. “La Camara Indiscreta” again denounces the excesive surveillance in the citys, through a project in which the artists created city maps for tourists that shown the diferent points in which you are being watched. The project intent to be realize in different cities. “Canibales” is a project that begins with the unfair named given to the natives people of Antilles as a general misconception, the lack of understanding of western cultures about other cultures. The piece deals with inmigration as well as misconceptions in a humorous tone. Different posters are spread in the city showing recipes to eat humans, refering to them by their ethnic bacground and given a blog adress to contact if desire. It speaks about the consumption of multicultural artifacts and culture as a way of simply devouring it, often disconnected of the original producersand with a lack of respect for them.
“Visible Walls” is again a piece exploring borders, walls, the inside and outside and the ambivalence of all of them. It denounces our need of control and limitations.

The duo originated as a response paralel to each other practice They work with the surroundings where they live. It was though in its early conception as a satellite project meaning
-it is an observation project more oriented to processes and dicoverys that to actual art production.
-in them the artists approach the urban spaces as well as the art practice to watch. -because both live outside their cities of origin so they feel always in movement
-and finally because it works in the peripherial realm of contemporary art culture through interventions, performance, installations and in general a multidisciplinary practice.

Thursday, November 20, 2008

Visible Walls, 2008


Thomas Proffe work

The Wall

Mauros birthday dinner

Dinner table

Project Jaume Sabartes, 2005

This project was done in Ciutat Vella, a centric neighboourhood in Barcelona and it has its starting point in the exploration of the memory and its meaning in the context of a very centric neighbourhood, transformated in the recent years by inmigration and tourism.

Through doing some interviews we found out that there was a project of remodelation, in a square, la Plaça Jaume Sabartes, as a project that has ist origin in a desire to extend the Museo Picasso.
This urbanistic planning that began in 1996 with the expropiation of the buildings that were in that square is still affecting the neighbours, with such a long process that for many of them is difficult to keep track.
We decided then to present in an intervention of 24 hours, the recent memory of the buildings that were expropiated, with the names of the families that lived in those buildings, marking on the floor the plans of the houses and adjudicating them the names of the families who inhabitated them, through maps we found in the City Hall and through the testimony of some of the old neighbours that stayed in the neighbourhood after the expropiation.
In the afternoon of that same day and after marking the recent memory we design in the floor the new plan appoved by the City Hall and after we finalized it we talk to the neighbours and public in general presentinfg them with an opportunity to write, draw, or be recorded giving ideas for the new plan in the plaza.
All this information was published in the web as part of the III International Games of Efimeral Art in Barcelona and publihed in Argentina, Brasil, Colombia, Italia and Spain.

Juegos Internacionales de arte efimero de Barcelona