CT1LN

CT1LN

2014 – WIP
But let’s not speak about facts. The facts no longer matter to anyone, they are only starting points for the invention and thinking.

                                                                                                Jorge Luís Borges,  “Utopia of a tired man in The book of Sand

Paulo V. was an amateur radio operator for four decades in the XXth century; The first contact with his archive during that period raised questions and an unrestlessness trigged by this activity – amateur radio. Each dive in his books, objects, or testimonies, reinforced the awareness of the relationship between this practice and the need/motivation for the human being to transcend the self and overtake its own limitations – this subject matter has been constantly revisited in the projects I have developed as an author.

This project, which began in 2014, highlights the first set of works, focusing on the initiatory gesture, symbolism and the consequent virtual journey´s that the amateur radio practice allows, under the designation CT1LN: Part I – Paulo V’s Travels.

There are four distinct moments in this first part of the project: throughout the series Artefacts there is an archeological gaze into the origins of Paulo V., revealing objects linked with the beginning of his activity as an amateur radio operator; Templum– an expression derived from the roman tradition, was the word employed to describe the place used for astronomical observations – gives title to a set of twelve drawings each one designed on the basis of one day of Paulo V.’s travels; the installation Propagation #2 (General Calling) – space and time reservoir – where Paulo V.’s morse code general call is represented. On one hand, this work refers to the  concept of hetherotopia by Michel Foucault: the amateur radio operator’s workstation can be seen as a hetheropic  site per excellence.  On the other hand, the installation From my bedroom’s window I can see the other side of the street (En Soph) summons Jorge Luís Borges’s universe where the chosen vehicle for the wish for (in)finite multiplication is the mirror, the place where representation is always a construction.