Mari Claudia García

  ÁN   E Á     UE T     AM A

This artwork was designed for a specific location: the Ruins of the Ballet Faculty Ruins (known as Circus ruins) at the Arts University, ISA. The piece, part of the exhibition Bread and Circuses, was supposed to integrate with the architecture, because of the similitude of the construction materials used to build it. It consisted of a kind of podium or pedestal made of long thin bricks, in which there was an acrylic empty cube, as a display. Inside this structure there was a Rubik’s Cube with its little color squares disorganized. Some of the squares in the faces of the cube showed loose letters black letters that established a correspondence with the artwork title letters.

This installation didn’t provide fast and shallow answers. Only the really interested and participative spectator could decipher the apparently meaningless text on the cube, but always from certain distance, because the spectator was not allowed to touch or interact with the objet. Only through reading and thinking he could figure out the message. This is an artwork that depends on the existence of this spectator, revealing that it cannot exist without him, since it builds itself thanks to his presence/distance: his attitude.

The interest with this work revolved around two main questions: How much real time we devote to connecting with art beyond the first simple impression they bring about? How much disposition do we have to change reality from active participation and effort?