Tatiana Busto Garcia takes the city of Barcelona as a laboratory for accidental encounters from visual and literary thinking with a high poetic component. The artist explores little considered urban areas (as did the Situationist deambulation practices) to come into contact with the psychology of the subjectivities of the territory and bring out the collective unconscious in an involved way. To choose the listening points, she took an arbitrary mathematical formula applied to the nine letters of the word ‘Barcelona’, which gave her the names of streets in scattered and quasi-unknown places of the city to start the itineraries, planned throughout the different seasons of the year in 5-hour time slots and which the artist has been undertaking for two years. One particularity is that to trace the paths of each route she superimposes the graphic map of the letter (which each place is associated with) over the real map. She thus propitiates a living act of visual poetry at ground level, reversing the name of the city on its own geography and giving it mapping functions. Moving along these paths, the artist observes, coexists, investigates, tracks impressions and looks for ways to activate the city. Everything she hears, sees or thinks becomes raw material for developing stories that drift in unthinkable ways and where performativity through relational participation of back and forth with the others is very present. “I act simultaneously as narrator and character; I become part of a complex of invisible elements where chance is the incognito referent for all possibilities, events and quasi-events.” The artist scrutinizes these places with intensity, carefully explores their daily nature and collects impressions in photographs, audio recordings and street writing, videos and objects. She enters the fleeting temporality of the prescribed places and allows herself to settle into their rhythms and the situations that arise. “The places generate countless repertoires of relationships. Phrases, whispers, glances, thoughts, insights, memories and unspeakable desires emerge”. They are fragments of life that the artist rescues and reconstructs to build new invented stories where truth and fiction meet and modify each other. In each installation the stories enter into a loop and fold in on themselves by means of narrative plots that act “as an agent of disorder of the splinters of the everyday.”
She understands the city as “a labyrinthine amalgam of everyday intimacies and collectives that contradict each other at every corner” that she reweaves again. Like Certeau, she believes that the stories that cut through each day are what organize the place and therefore define and shape it in full. The artist perceives the city as a living organism capable of building itself in this transurban vagabondage; she observes it like a
great cinematographic scene and records the heavy charge of incompleteness, of unattainable emotional textures, unrepeatable stories and the experiential enigmas of the people who feel a sense of belonging but also and especially the ones who fit in with difficulty. Her work is a portrait of how every corner of the city is formed by the contingencies of the people who inhabit it. From these encounters, discoveries, collective games and unexpected experiences, each work makes it possible to experience the city as terrain for excavating layers and re-transiting presents without forgetting that the spectator is the last link in the participatory chain. This exhibition includes the installations resulting from five itineraries from the total project that can be interpreted in a wholly interdisciplinary way.
Teresa Blanch Malet