THE FACTORY OF FORMS by Elena Bajo
190 x 270mm, 80 pages, Black and Green throughout, Perfect bound, Softcover, 2012.
By affirming our fluid being and allowing ourselves to relate within the open structures where we find and may engage with a multitude of carriers, the sum of this stage situates both our heartfelt desire to relate with the common, as the ethical and technocratic conditions to level the common.
Here we face up with physical carriers of data, known and unknown, familiar, readable and unfamiliar, open to engage or lost in translation. By relying on chance, contingency and ubiquity, Bajo’s research-inspired and concept-desired work seeks to evoke poetical, non-hierarchical and emancipatory situations. Acting within this choreography’s sculptural setting, we live up playfully. Here, through coincidental contacts of test print runs, encountered archive material gathered and reframed by Elena Bajo and Bastien Rousseau as well as via our human, poetical capacity to relate, weinclude a disrupted fl ow of semi-capitalist logics within our personal lives and our collective spirit; relating on the currents of doubts and default acting underneath. As modern, abstract logic attempts to sustain its surface, this scene evokes a personal and sincere struggle, which challenges to dive underneath, without any guarantee to find ground.