Chus Martinez – författare

Essays on the question on how art—and contemporary art practices in particular—embodies an intelligence capable of serving the erasure of the culture/nature distinction.The Complex Answer: On Art as a Non-Binary Intelligence presents a series of entangled essays on the question on how art—and contemporary art practices in particular—embodies an intelligence capable of serving the erasure of the culture/nature distinction. The book is conceived in four parts and each not only introduces a slightly different writing on the subject matter, but also refers to concrete questions that affect the practice of art, the exercise of exhibiting, the duty of reflecting, and the institutional forms that define our present but may radically change in a near future.The book imagines art and contemporary art as an organ. An organ that produces an experience of inexpressible realities that are fundamental to understanding life and its processes. Stem cells exist, first, without a purpose and it is for the whole organism to decide if they will become part of an auditive nerve or the brain or the cornea of an eye. This adding to an organ is how Chus Martínez understands the intelligence of art. Poets and artists have claimed to understand the language of birds and flowers. We speak now of multi-species communication without a trace of metaphoric language. The experience of nature has evolved inside artistic practice. One could claim that the very fact that we talk about artificial intelligence is a merit of the arts. To transfer traits of organic life to inorganic entities such as information systems is a bold move that took centuries to prepare. Art has been essential in getting our senses and our arguments ready to accept this reality. The same with animal language, the synchronized reactions of a rainforest, and the transformative way fish have been discovered as able to recognize their own image in a mirror. These are just jests on the part of the sciences, developments of technical knowledges.

»Kunst ist Denken, keine Theorie.« In Chus Martínez'' Notizbuch wird der Zwang zur permanenten Bedeutungszuweisung im Öffentlichen wie im Privaten theoretisch und visuell verunsichert. Martínez legt den Schwerpunkt auf ein gemeinschaftliches Denken, das einen lebendigen und in seiner Mehrdeutigkeit produktiven Zustand hervorbringen kann: Wissen. Sie nimmt dabei eine Neudefinition »künstlerischer Forschung« vor, einer Praxis, die eine »echte öffentliche Debatte« in einer Gemeinschaft anstiften kann und die im Zeitalter des Konsens Irrtümer und »Nonsens« (Un-Sinn) produziert. » Das Ausdrückbare nicht ausdrücken« fragt nach der Rolle der zeitgenössischen Kunst für unsere Vorstellungen und Handlungen nach beziehungsweise entgegen gesellschaftlichen Spielregeln. Chus Martínez (geb. 1972) ist Mitglied der Agenten-Kerngruppe und Leiterin der Abteilung der dOCUMENTA (13).Sprache: Deutsch/Englisch

» Kunst ist Denken, keine Theorie. «  In  Chus Martínez ''  Notizbuch wird der Zwang zur permanenten Bedeutungszuweisung im Öffentlichen wie im Privaten theoretisch und visuell verunsichert. Martínez legt den Schwerpunkt auf ein gemeinschaftliches Denken, das einen lebendigen und in seiner Mehrdeutigkeit produktiven Zustand hervorbringen kann: Wissen. Sie nimmt dabei eine Neudefinition  » künstlerischer Forschung «  vor, einer Praxis, die eine  » echte öffentliche Debatte «  in einer Gemeinschaft anstiften kann und die im Zeitalter des Konsens Irrtümer und  » Nonsens «  (Un-Sinn)  produziert.  »  Das Ausdrückbare nicht ausdrücken «  fragt nach der Rolle der zeitgenössischen Kunst für unsere Vorstellungen und Handlungen nach beziehungsweise entgegen gesellschaftlichen Spielregeln.     Chus Martínez (geb. 1972) ist Mitglied der Agenten-Kerngruppe und Leiterin der Abteilung der dOCUMENTA (13).   Sprache: Deutsch/Englisch

Coding Care: Towards a Technology for Nature brings together contributions from renowned authors and artists who are particularly concerned with nature and our environment. In doing so, they raise the question of how we can use technology to better understand nature and shape coexistence in a sustainable way - especially in regions that are not yet fully technologized. In this sense, coding should be understood as a form of caring, a substitute for what technology can contribute to the future in each specific cultural and regional context.

This book is a journey into the cosmos of the Brazilian-Swiss artist Pedro Wirz, in which humans and animals, but also legendary creatures coexist. His artistic investigation of the systemic devastation of diversity witnessed across biological, cultural, and ethnic fronts today is based on scientific explorations, but also on his very own experiences within a particularly threatened ecosystem. The child of an agronomist and a biologist, Wirz spent most of his youth in the tropical Vale do Paraíba in Brazil. To this day, his fascination with science as much as with indigenous mythologies continues to inform his work. He creates his sculptures and installations from a mixture of organic materials like wax, earth, wood, clay and straw as well as artifacts of the consumer world such as toy cars, dolls, textile remnants, Lego, old clothes and electronic devices. However, Wirz is also interested in new, promising materials such as mushroom threads, bamboo or nanomaterials. With his combination of paradoxical elements from the remotest past and the foreseeable future, from technological reality and poetic imagination, Pedro Wirz brings back the original familiarity that used to exist between science and mythology.