A Dialectic Between Territorial Spaces (2017), obras pictóricas

Paris poster 2 Paris poster 1

interview to Josefina Di Candia, by SHULIN FANG

My performance, shown here in Paris, on Monday February 13th 2017, took place in the Auditórium de la Cité Internationale des Arts, with the participation of several international artists.

It is about TERRITORIES. It’s about how we have a dialectical issue between the material territory and the way we connect with the concept of Virtuality.

If this concept of Virtuality, finally ends up being a NEW POETRY or NOT, a poem, but rather a kind of …”I don’t know” … something that has to be discovered over time.

The performance has several stages: First, the place is in the dark; the music is rather primitive: it has to do with drums, with a bass drum (legüero)[1], from Argentina. The sound of the drum and the silence inspire me to listen to what it is primitive within ourselves, as if it were the blood flowing inside the body and entering the body.

The Body full of life, movement and energy. This energy is fully corporeal, not only mental. This is what I wanted to established: what is the most primary feeling, in the beginning.

Later, at the same moment a great impact on the drum is produced, voices appear in the darkness, counting number from 1 to 20. I thought this was very interesting since numbers set the time, time that runs, which suggests our TEMPORALITY.

Everybody performed in their own languages, different languages, then everybody repeat once more, at the same time, the numbers from 1 to 20. I wanted to hear the music of each language, the music that goes back to a place. The music that takes us to the place of residence, which has to do with our personal history, our childhood, our parents, our national culture. ESTABLISHED WORLD TERRITORY

Afterwards, the lights are turned on and on the floor it is placed this acrylic sheet which represents the way people finally travels this world, in different ways: trips, life circumstances, wars …

We begin to be NOMADS in the world, and the only possession we own, although language refers to the place of residence, is that music we bring. The music that we leave somehow and when we are in another place, the only thing we own is the BODY, as the residence, and it is the corporeal territory which marks the limit, the edge. New Map.

 That’s the reason why I drew it, and each person has the opportunity of recovering it, the chance to inhabit it, because I think that this body is inhabited many times by other things that are not ours, even the virtuality …( … that … it is all virtual; there are only few things which are not virtual, for example: I am sitting here, I make physical contact with my body, but everything is virtual: what I see, what I feel, but that virtuality which I do not always allow to participate within my territory or even, some times, it goes by, it crosses over, it bores through such territory and these are very subtle things that end up FADING US AWAY, opening the corporeal boundaries, which is what I want to emphasize.

The corporeal territory is our habitat, we must inhabit it, and all this virtuality may be a new way of poetry?

Poetry is what connects us with something which has to do with spirituality, that has to do with something primary important, primary subtle, primary extraordinary, and that is the existence and life.

And the virtuality is filling it up almost in a toxic manner. It might be that a poem can become a nightmare.

Because we lose identity.

When I finish the drawings of every one who has taken part in the performance, I start to slowly connecting people with a rope, and a drawing is produced, the lines start connecting between each other and from above we can see a clear drawing of this PERIMETER OF THE VIRTUALITY, OF A NEW SHAPE with surface and perimeter.

The non-corporeal form, not geographically established, but instead the shape of virtuality that we can make and which can be so invasive that we can get lost within that form.

… a dance begins, almost purifying, enveloping, united and separate at the same time. As it was shaping only one body and they fall. They slowly fall. Kind of weary, due to so much influence. To recover a silence, to recover the body, to feel the heaviness of the weary body, to feel the floor, the soil, the ground that we tread upon.

Then, they stay for a while, not a long time, immerse in this silence and in that peaceful passiveness, that meditation. Later on, I place upon them a huge sheet of nylon, as if it were the wind, which blows and takes everything away and I cover them.

Slowly, people starts moving and as the move they start feeling that they are once again into themselves and that plastic sheet means a way of birth, that there is a decision of their own to be reborn onto themselves.

To make the decision on what is going on around. How we live, how we define what we see, and feel and that the things do not invade us just because they exist.

In the end, everything is reborn again, it does not have to do with disappearing from the world, it is simply a reincarnation, a new consciousness on how to be born without any toxic influences, of knowing how to choose, of knowing … indeed to live our own life, which is what I’m interest in: the existence.

This performance is known as “A Dialectic between Territorial Spaces” and if the virtuality is a new poetry … it remains an unanswered question.

I believe that poetry will never die; it will never die, neither spirituality. I’m very interest in all that.

… the previous performance which I presented also in Paris, was about tracing, the drawings which we made on the floor, I mean in connection with the terrestrial, the connection of our feet with the terrestrial surface makes us feel alive, even the music, our own energy has its music …well, it is simply that …

There is something that I like a lot, after having written…on the mutant iconographies … which are fragmented, diffused, that are penetrating us … if it is a dream or not, maybe a nightmare.

Virtuality is at the same time alienation? … These are all questions: about the nomad, that we transforms ourselves once more and about the abstract corporeal maps and the periphery of drawings that we make when we connect virtually…????

Mi name is Josefina Di Candia
Paris February 2017

[1]  An Argentine drum traditionally made of a hollowed tree trunk and covered with cured skins of animals such as goats, cows (leather) or sheep

Le corps est un nouvel espace occupé, la peau est sa frontière et la voix est la langue qui fait référence à son origine. Le corps est perché,  morcelé  et transformé  par une nouvelle iconographie.

Est-ce un revê ou un cauchemar?. Le corps peut être le refuge de nos rêves  ou de nos aliénations virtuelles. La virtualité est un rêve qui se installe dans notre corps “nomade” dont le temps traverse les territoires abstraits.

 Écrit,  Cite Internationale de Arts. Le Marais. Paris. 2017



The poetics of making alchemy visible 

Josefina Di Candia explores the crossing of painting with a more present body action.The manifestation on the fabric of the immaterial effect of corporeal energy.That energy, is sensitized in contact with the material producing an alchemy; close to the primary, to the essential, to the unconscious.

Music sometimes brings about the abstraction of complex swarms, of a mathematical dimension, which dissolves in the infinite and which charges the body with an energetic substance combined with its own, to decant in a plasticity almost non-visual.Being a transitive act, an emptying to be present in the work of art.

The poetics of making energy visible. We are faced with a language that -as a consequence- is visual.This alchemy participates in the organicity of the universe, is the “zero”, the beginning or the end?It indicates the consecutive, the extremes to frame an instant that finally is that eternity.The immaterial sensibility through the experience of the vacuum in the pictorial action.

Transforming into an iconic image of timeless signs, living in a constant present.

The signs that write the energy, are stories of poetry traversed by the enigma and the germinative mystery of the creation.



Josefina Di Candia explora el cruce de la pintura con una acción corporal más presente.

La manifestación sobre la tela de lo inmaterial de la energía corpórea. 
Esa energía, se sensibiliza en contacto con el material produciéndose una alquimia; cercana a lo primario, a lo esencial,  al inconsciente.
La música aporta, a veces, la abstracción de complejos enjambres, de una dimensión matemática,  que se disuelve en lo infinito y que carga al cuerpo de una sustancia energética combinada con la propia, para decantar en una plasticidad casi no visual.
Siendo un acto transitivo, un vaciamiento para estar presente en la obra.
La poética de hacer visible la energía. Nos encontramos frente a un lenguaje que como consecuencia es visual.
Esta alquimia participa de la organicidad del universo, es el “cero”, principio o fin? 
Indica lo consecutivo, los extremos para enmarcar un instante que finalmente es esa eternidad.
La sensibilidad inmaterial a través de la experiencia del vacío en la acción pictórica.
Transformándose  en una imagen icónica de signos sin tiempos, que viven en un constante presente.
Los signos que escriben la energía,  son relatos de poesías atravesadas por el enigma y el misterio germinativo  de la creación.
Josefina Di Candia.  Julio del 2017