July 2012
TRANSVERSAL AESTHETICS. Presentation of projects and performative actions.

TANIT PLANA. Circulación (Circulation)
ALESSANDRA PATRUCCO. Ramat de sons (Flock of sounds)
NICOLÁS DUMIT ESTÉVEZ. Recuerdos de Avinyó y del South Bronx ( Memories of Avinyó and South Bronx)
COLECTIVO AUTONOISE. PRO (Precomputing Rhizomatic Outernet)
Presentation of projects by ORIOL FONTDEVILA.

Casino Cultural Centre of Manresa. Passeig Pere III, 27, 08241 Manresa

Trans-is a prefix, in Spanish, referring to questions regarding displacement, whether spatial, temporal or cultural. It means 'across' or 'through', along with the alternative form tras-. The combination of the particle trans- (tras-) with other words, as well as generating a set of different meanings, carries with it notions of mobility, circulation and dynamism. Within the context of IDENSITAT's aims, the most interesting trans- forms compounds are: transit, transform, transmit, transgress, transporting, transdisciplinary, transnational, transcultural, transhistorical, transhumance ... all words which could relate to specific aspects of the four projects iD Manresa 2012 presented in this edition.The projects were realised between 2011 and 2012, influencing public space and developing collaborative work with cultural and social agents in the region. This edition was co-organised with the artists' residence programme at Avinyó by Cal Gras.

Two of the projects, Circulation by Tanit Plana and Flock of sounds by Alessandra Patrucco, were works regarding the transhumance paths, ancient trackways crossing Catalonia and Europe since time immemorial, which became interconnected routes allowing herds to travel in search of pasture. Fragments of these roads remain, as urbanisation caused entire sections to be moved or erased over time, although important parts of them have been conserved in rural areas.

Tanit Plana's project was undertaken through photograph, which quickly expanded to include education, by means of the many workshops she conducted with various groups, and collective performance, by means of a popular hike which followed the old trackway between Avinyó and Manresa. It also expanded to include collective creation by ensuring that all participants were part of a co-production. To transit, to  transform, to transmit, as well as transhumance, are a few of the words suggested by this project.
Alessandra Patrucco works with sound, in this case audio captured from various places, activities and people directly related to the rural fabric which, in one way or another, maintain a link with the transhumance paths. The movement of the herds, the sounds of the countryside or the voices of local experts formed part of her work-process, as well as the results, which were presented at the conclusion, taking the format of a musical composition.

The other two projects could not have been further away from the subject of transhumance, but, as was the case with the previous two projects, they displayed a strong linkage with rural areas, and a strong involvement with very specific people or groups.
Nicolás Dumit Estévez worked with an elderly group in the predominantly rural community of Avinyó, and a group of residents from the Casa de la Felicitat (residence for elderly people) in the South Bronx neighbourhood of metropolitan New York. Both experiences attempted to convey the relationship between art and everyday life between the artist and two groups belonging to two quite differentiated and distant communities. A series of photographs taken by each group, representing the context in which they lived, became a joint publication of postcards which generated an exchange of human experience, of correspondence between them, while at the same time representing a way to understand both places from the perspectives of those involved. A cross-cultural project, transgenerational and transtemporal, since time and trust here became an elementary factor.

The Collective Autonoise with the project PRO (Precomputing Rhizomatic Outernet) attempted to convey the thoughts and experiences on the streets from groups at risk of social exclusion. They worked with a group of inmates at the  Llerdoners Prison in Sant Joan de Vilatorrada (Barcelona). Starting with music workshops taught by Ivan Bonache, two groups formed, one flamenco, and the other rock, with which Autonoise ​​recorded and mastered an album. The album tracks, along with audio and video recordings made between February and April in the prison, formed the material basis for an intervention in public space in Manresa. In this case transdisciplinarity, but also transgression of prison space, to which we were transported, and from which experiences, desires, or small changes in their daily lives, were transmitted. All from a place of internment which, to the participants, was no more than a place of transit.

Taken together these proposals we grouped under the title "TRANSVERSAL AESTHETICS" not to give rise a new aesthetic movement, but to emphasise the concept of displacement brought together by the different proposals. The presentation and discussion was led by Oriol Fontdevila.