An artist is never confined to one way of doing things. An artist changes and evolves, reconfigures problems with techniques, ideas with processes, research with products ... An artist has the faculty to extend his networks towards other ways of doing and knowing.
The crossing, fermentation or contamination between knowledge and productive and operative elements enhances the production of 'mosaics' where the validity of multiple paths towards knowledge, creation and aesthetic experience is evidenced. Linking different processes with operational modes allows projecting the now with the future; consider seriously alternative approaches of communication, discursivity, form and content, is a constant action of weaving past-present-future in the development of the artist.
Project Z is an invitation to reflect on alternative routes; a characteristic of the time is the possibility of building real virtualities. We use intelligent platforms to investigate, disseminate... and create... All the tools are at hand. The technological crossover is not new. The twentieth century spoke of 'total work of art' or Gesamtkunstwerk, a term used in the nineteenth century to signify the ideal work of art, the modern potential of taking advantage of all means accessible to the artist, from different technical possibilities. The idea was fruitful to define the objectives of the Bauhaus, which considered the artist as a designer and artisan, capable of integrating different media and materials into his production.
Our era, however, goes beyond the reference to technical processes, recognizing the social and political potential of art. The multiplicity of theoretical perspectives in the artistic and curatorial action gives place to the thought of inter-connections, or curatorships in the 'expanded field': "linking images, processes, people, locations, histories and discourses in the physical space, generating torsions, turns and tensions. "
It is not about works of art discretely defined as such. Project Z calls for the presentation of proposals that question "the paradigm of the artist as a radically self-determined agent and of the autonomous work of art as the normative index of the 'artistic' work".