Page 33 - The Future Belongs to No One. Eugenio Ampudia

through the parallel action of a deconstructive force, or a poetic distortion that disregards those favourable reconfigurations, making use of the value of an energy that reveals and gives shape to other gains. An example of this dichotomy can be found in the installation series entitled Tomando medidas (Taking measures). Vales of change and at the same time signification of poetic values?One proposes means of reflection that are part of one’s own paths. Transformation and change, owing to their nature, generate a complex language. As always, they’re strange moments and difficult to manage.In any change there’s a disruption of forces in which gains and losses are experienced alternately and even simultaneously.The use of language by all entities, corporations, states, media, etc., including people, who continually use it to come to an understanding on reality, is absolutely influenced by who communicates and to whom.Today it’s evident that the same phrase can change radically depending on the interlocutor, on how it’s spoken, on the transmitter or on the receiver. The message depends on many factors and they’re all involved in and modify the final communication in real time.There are phrases or words such as those that are part of the Tomando medidas series, which, depending on who utters them, can define the real, replace it or destroy it.To what extent does your creative process involve restoration, recycling or methodical postproduction practices?Personally I’m very comfortable working with objects that are given a new context or stripped of their original or conventional significance to be presented as a new proposal for reflection. For example in Plaga (Plague, 2015), I work on invitations to exhibition openings to create plagues of cockroaches and flies that invade spaces with other artists’ images.Yes, we do work methodically on the postproduction of a few of the audio-visuals so that the communication is visually credible, to ensure the greater involvement of the receiver.Are disaster situations important to the development of artistic expression?I think that if, in emergency situations, our body someway resets itself back to zero, it’s too late to be afraid and the time has come to consider new possibilities.Does this conversion also relate to a concept of resignation linked to a Christian faith?I never work, think, use or say anything that has anything to do with religions; for me they neither exist nor are a subject of rational reflection. Rather, they’re enterprises and brands that achieve a very high added value out of nothing.33 | EUGENIO AMPUDIA. THE FUTURE BELONGS TO NO ONE YET33 | EUGENIO AMPUDIA. THE FUTURE BELONGS TO NO ONE YET