PROVISIONAL AESTHETICS, a project designed by Rodrigo Urbina and Raily Yance that will have the Maracaibo Fine Arts Center as its base of operations at the Club Ateneo de Maracaibo. Provisional Aesthetics assumes creation as a necessary fact: making the simplest, most economical and efficient decision, a process analogous to nature.
PROVISIONAL AESTHETICS. MANIFESTO. BY FEDERICO OVALLES AR
The Provisional Aesthetic emerges from a phenomenon whose genesis permeates, re structures, and allows conditions for new ways or methods of creating art, ergo, other possibilities of studying and existing in the universe.
From improvised housing, domestic solutions from found objects, the ambiguity of the fortuitous contrasts of the construction of life, and the persistent disparity, the provisional aesthetic happily assumes the imaginary fracture of its magical and unconscious configurations, as well as of its solid liquid and gaseous structure (as demanded by their individual situations).
It exists in been exposed to drastic and radical change, and even to its own disappearance.
A provisional aesthetic is an aesthetic… for now. Subscribed to the ephemeral and precarious. It is then that existing in the “now”, the “tomorrow” is possible.
From the deepest attachments to materiality, assumes creation as a necessary fact: to make the simplest, economic, and efficient decisions, through a process analogical to nature.
Provisional Aesthetics reasons from intuitive and naïve mechanics, finding solutions with what he has at hand, with randomly chosen available materials whether they are related or not to the objective to be achieved.
Provisional Aesthetic values technological thinking but addresses post-apocalyptic forms. It does not seek to make an apology for poverty, validate marginal processes, much less to be the representation of the precariousness of its time, even though its object of study lies particularly in it.
The provisional aesthetic is the vestige of the pre-Hispanic, of the processes of “hispanization”, slavery, “ruralization”, the republic, “petrolization”, industrialization, modernity, the new millennial transition, migration, marginality, or “dis-institutionality.”
It contemplates a universal proto archeology of civilizations in constant degeneration and vanishing. A proto archeology that understands and assumes its transformations, deformations, ruptures, and historical overlaps. It brings us closer to thinking of ourselves more as what we are not than what we should be fostering the present problem of the human identity in our time.
