Enrique Ruiz Acosta, Mexico

Residency Period: 1 November 2014 - 31 October 2015


Bio

Mexican artist Enrique Ruiz Acosta studied at the Universidad Autonoma de Nuevo Leon, Facultad de Artes Visuales from 1979 to 1985 in Monterrey Mexico after which he spent time in Germany and Europe for two years, where he was exposed to various mainstream cultural movements. He then returned to Mexico and began his career as an artist while teaching at his University. He was part of a generation of artists who enjoyed a local prestige in Monterrey. In 2008 he began his PHD which has gradually brought him to this hiatus.

URL: enriqueruix.tumblr.com


On-hiatus Proposal Summary

Having worked and well-recognized as an artist in his community, in 2012, various factors in his personal and professional existence led to a re-evaluation of the way he had been conducting his life and career as an artist to this point. He gave up his teaching position at the university and began new pursuits such as meditation, random conversations, poetry workshops etc., as ways to assess where and who he is and where he would like to be. Enrique has reached a hyper-awareness of middle age and the corresponding time remaining for productivity and how exactly he should use it -- a mixture of thoughts and concerns about what to do just before he becomes too old or even perhaps senile. He plans to use his hiatus residency at RFAOH to make the best decisions for his remaining life.


Final Report

And now for something completely different
- Monty Python Flying Circus

No hay mucho que agregar a lo que ya he escrito durante un año. La residencia ha sido una estimulante oportunidad para resolver algunos aspectos de mi crisis, mientras que otros aspectos han permanecido aún a la deriva o irresueltos. Pero sobre todo encontré esta afortunada coincidencia (si es que existen las coincidencias) con un plan al que ahora me estoy impulsando para realizar a partir del 2016, algo que ya he comentado en estos últimos dos meses de residencia. Ha pasado un año y mi percepeción es que casi todo el tiempo de la residencia me sentí motivado a participar. Me hice preguntas necesarias y traté de responderlas. Escribí en español y traduje al inglés. A este complicado ejercicio se agregó el diálogo con los colegas (algunos de ellos, no todos) lo cual fue esencial para clarificar y para ubicar / desubicar las diferentes posiciones que tenemos frente al mundo del arte. Ha sido difícil al mismo tiempo que un poco extraño y otro poco cómico. Creo que las diferencias interculturales a veces dejaron huecos en las conversaciones imposibles de resolver.

There isn't much to add to what I already have written in one year. The residence has been an exciting opportunity to solve some aspects of my crisis, while other aspects have still remained unresolved or still drifting. But above all I found this lucky coincidence (if coincidences exist) with a plan that I'm pushing for, and that will start in 2016, something I have mentioned in the last two months of the residence. A year is gone, and my perception is that almost every moment I felt motivated to participate in this peculiar residence. I asked necessary questions and tried to answer them. I wrote in Spanish and translated it into English. In this complicated exercise, the dialogue with colleagues (some of them, not all of them) was essential to clarify and to locate/dislocate some of the different positions we have concerning the world of art. It was difficult but at the same time a little odd, and a little funny sometimes. I think cultural differences sometimes leave gaps behind impossible to solve.


archives

SunMonTueWedThuFriSat
1234567
891011121314
15161718192021
22232425262728
2930     
       
    123
45678910
11121314151617
18192021222324
25262728293031
       
      1
2345678
9101112131415
16171819202122
23242526272829
3031     
   1234
567891011
12131415161718
19202122232425
262728293031 
       
 123456
78910111213
14151617181920
21222324252627
282930    
       
     12
3456789
10111213141516
17181920212223
24252627282930
31      
   1234
567891011
12131415161718
19202122232425
2627282930  
       
1234567
891011121314
15161718192021
22232425262728
293031    
       
1234567
891011121314
15161718192021
22232425262728
       
       
    123
45678910
11121314151617
18192021222324
25262728293031
       
 123456
78910111213
14151617181920
21222324252627
28293031   
       
      1
2345678
9101112131415
16171819202122
23242526272829
30      

 

recent comments

On Nov 1 2015, Matt commented on 16: Thank you Enrique; It was lovely having you.[...]

On Nov 1 2015, enrique commented on 15: thanks milena, I'll look for it !![...]

On Oct 13 2015, milena kosec commented on 15: It seems the XXI century circumstances are the same all aroun the world. I just saw very sad documen[...]

On Oct 9 2015, shinobu commented on 15: OK, so you are still with us, phew! But can you believe it is the LAST month anyway?!?[...]

On Oct 4 2015, enrique commented on 14: yesss! that's it! good ol' prehispanic cuisine !! [...]


8

 

 

Este viernes asistí por primera vez a un nuevo grupo de estudio de Lacan a cargo de Nancy Garza. Nos reunimos en un sitio histórico de la ciudad: el Obispado, una antigua casa católica que ahora es museo. Estas lecturas de los seminarios de Lacan son muy estimulantes para pensar en el sí mismo. La mayoría de los participantes son psicólogos, pero el grupo está abierto a cualquiera. Estaremos leyendo el seminario 4 (1956 y 1957) que tiene por título “La relación de objeto”.

Me interesa entender lo que llaman el “sujeto del insconsciente”, que es muy diferente al sujeto racional o sujeto trascendente. Esta subjetivación del individuo me acerca a lo que ocurre con el artista, porque puedo ver ahí la base de todas las operaciones interiores que le ayudan, poco o mucho, a comprender las circunstancias de su existencia. Es algo, claro, que le atañe a cualquier persona en cualquier época, no es exclusivo de los artistas. Son las formas en que uno puede conocerse a sí mismo a través de la auto observación, la meditación, los registros personales y ciertas conversaciones que buscan revelar y aclarar los acontecimientos de una existencia.

El hiatus es un modo de nombrar esta pausa para pensar en el sí mismo para tener acceso a perspectivas que permitan reformular lo que uno hace. Ese es el cuidado de sí mismo, una autoconstrucción a partir de los otros, para participar como ciudadano en lo social: rol, identidad, profesionalización, relaciones afectivas, acciones politicas, salud, etc.

Como plantea Heather (compañera de residencia), a través de sus preguntas acerca de si es arte, o no lo es, lo que hacemos al estar en hiatus, yo soy de la opinión de que todo lo que el artista hace en cualquier momento podría ser arte, aún a pesar de su “propósito” de no hacerlo.

En este sentido, el hiatus del artista podría ser una paradoja que presupone que no se harán inscripciones en eventos de producción o divulgación de obra mientras se “descansa”, pero como actividad cognocitiva, el sólo hecho de pensar en no-hacer algo es una forma de hacerlo negativamente. El rechazo, desde una lógica propia de la expresión de subjetividad del sujeto artista, afirma lo que niega. Esa es la paradoja, nunca dejamos de pensar en el arte. Por eso resulta divertido lo que Heather dice en una de sus fotografías: “Estoy en el estudio pero no hago arte. Solamente estoy aquí.”

En mi caso además es un problema de suspención y continuidad, atravezado por preguntas casi indescifrables: ¿cómo suceden los impulsos de producir “algo”? ¿qué origina el cisma y el rechazo a continuar haciendo arte? ¿por qué puedo no necesitar hacer algo?

Las respuestas son subjetivas. Son dudas, incertidumbres o estados de crisis que generan una especie de pequeño estremecimiento o una gran parálisis del ser. Pero también son como llamados que invitan a ubicar “algo”, a redireccionar la energía subjetiva y aliviar el desequilibrio o la presión que se ha provocado.

La subjetividad es aquello que está en posibilidad de ser representado de alguna forma (artística o no artística) como particularidad de un individuo. Expresar (todos lo hacemos) las dudas, miedos, anhelos, o mostrar interes por cosas que podrían ayudarnos a mejorar nuestra relación con el mundo es, claramente, la sustancia y el objeto del arte, y también es una forma de ocuparse de algo para canalizar la energia. Aún en hiatus, esa esencia no se pierde, y persiste la idea del retorno, del regreso a la actividad.

Me entusiasma pensar en esto. Creo que las preguntas cuasi ontológicas acerca de lo que es arte y lo que no es, conducen, entre otras direcciones, a tratar de dibujar una frontera entre la verdad individual y la legitimidad social de un objeto que pretende ser artístico. Me refiero a la declaración nominal y también a la inscripcion social de ese “algo” (objeto o no) en las actividades institucionales. Es relacional, evidentemente. Es en esta relación de partes donde se genera el cisma, la crisis.

Tal vez estar en pausa (hiatus) sea un trabajo silencioso para localizar el asunto a través del cual se puedan poner nuevamente en marcha las operaciones que permitan regresar al mundo del arte, y en ese sentido, si lo consigo, entonces nunca dejé de hacer arte realmente.

Pero bueno, sigo en hiatus. Y mientras tanto me he vuelto perceptivo a reconocer este estado a mi alrededor. Veo gente en hiatus en todos los sitios: los individuos que se reunen a media tarde en el café para discutir del mundo; las personas sin empleo que buscan una oportunidad; los jóvenes estudiantes que toman vacaciones; los retiros espirituales budistas; las parejas enamoradas que se dan un tiempo de separación, y así, todos administran el cuidado de su subjetividad mientras esperan que la vida les lleve por otro camino. Los impasses son pregunta acerca de la identidad y cuestionamientos a lo cotidiano. Incluso ahora veo las fiestas oficiales del calendario como interrupciones que rompen la monotonía de la vida laboral para recordar “algo” que en lo profundo le da cohesión a cierta comunidad.

Para Lacan es imposible llegar a conocer verdaderamente lo que nos impulsa a hablar, actuar en la vida cotidiana, construir identidades o representar “algo” artístico. No tenemos acceso directo, sino indirecto a esa energía que nos mueve. Esta adentro de uno y lo desconocemos. Sin embargo, el inconsciente es el gran “hablador” que nos está enviando señales, manifestaciones, signos de aquella presencia, es decir, de la energía que realmente nos gobierna al actuar, aunque no nos demos cuenta de ello. Tal vez el hiatus es el signo extraviado.

 

• • • • •

 

Last Friday I attended for the first time to a new Lacan study group, organized by Nancy Garza. We meet in a city historic site: El Obispado (The Bishop residence), a former Catholic house that now is a museum. These Lacan’s seminars are very stimulating to think about the oneself. Most participants are psychologists, but the group is open to anyone. We will be reading the 4th. Seminar (1956 – 1957) “The object relationship”.

I am interested in understanding what they call the “subject of the unconscious” which is different from the rational subject or the transcendental subject. The subjectivity of the individual brings me to what happens with the artist, because I can see the background of the insight transactions that helps, more or less, to understand the circumstances of the existence. It is something, of course, that happens to anyone at any time, it’s not unique for the artists. Those are the ways someone can get to know the oneself through self-observation, meditation, personal records and certain conversations that seek to reveal and clarify the events of life.

The hiatus is a way of naming this pause to think about yourself and to access perspectives that allow you to rephrase what you are doing. That is the care of oneself, a self constructed belief on behalf of the others, to participate as a citizen in the social context: role, identity, professional activity, love friendship and relationships, political actions, health, etc.

Heather (our residence colleague) has questions about whether it is art, or not, what she does while on hiatus. Maybe everything that the artist do could be (or has the power to become) art at any time, even despite its “purpose” to not doing so.

In this sense, the artist on hiatus could be a paradox, although he or she assumes that no entries will be made in events while “resting”, but in another way: as a cognitive activity, not-doing something is a way to do it negatively. The rejection, as an expression of oneself subjectivity, asseverates what it denies. That is the paradox, we never stop thinking about art. So Heather says in one of her photographs: I am at my studio. I am not making art. I am just here.

In my case it is also a question of suspension and continuity, crossed by some almost indecipherable questions: How do I get pulses to produce “something”? What causes my schism and the refusal to continue making art? Why do I not need to do anything?

The answers are subjective: doubts, uncertainties or states of crises that generate a kind of little shiver or a paralysis of the being. But they are also like an invitation to put “something” somewhere, or to redirect the subjetive energy and relieve the pressure that some imbalance has caused.

Subjectivity is something to be represented in some way (artistic or not artistic) as characteristic of an individual. The expression of the doubts, fears, desires (we all do that), or to show interest in things that could help us improve our relationship with the world, is clearly the substance and the object of art, and is also a form of transforming the self energy. Even on hiatus, that essence is not lost, and the idea of a return, the return to the activity, persists.

I am excited to think about this. I think the quasi-ontological questions about what is art and what is not, leads, among other directions, to try to draw a boundary between the individual truth and the social legitimacy of an object intended to be artistic. I mean into the nominal statement but also into the social inscription of that “something” (object or not) in any art institutional activities. It is relational. Because it’s in this relationship where the schism is generated, the crisis.

Maybe being paused (the hiatus) is like a silently work to locate the matter through which we can put back in place the operations that allow us to return to the world of art, and in that sense, if we do that, then we never really stopped doing art.

But hey, I’m on hiatus. Meanwhile I’ve become perceptive about this state. I see people on hiatus everywhere: individuals who meet in the afternoon coffee to discuss about the world; unemployed persons seeking an opportunity to get some money; young students who take vacations; Buddhist retreats; loving couples who give themselves a time of separation. Seems that all of them are managing the oneself’s care while waiting that life may take them in another direction. The impasses are questions about identity and are also questions about the everyday. Even now I see the official calendar holidays that break the monotony of working life to remember “something” important that gives cohesion to a certain cultural community.

For Lacan is impossible to truly know what drives us to talk, or to act in everyday life, or to build identities, or to represent “something” artistic. We have no direct but indirect access to the energy that moves us. It’s inside of me but I do not know what it is. However, the unconscious is the great “talker” who is sending us winks, manifestations, signs of that presence, that is, energy that really governs our acts, although we do not recognize all of them. Perhaps the hiatus is a missing sign.

 

Leave a Comment (3)

enrique wrote on Mar 19:

Thanks to you Heather! and thanks Matt! un gran abrazo !!

Heather wrote on Mar 17:

This post is a little beacon of light for me to hold onto as I ride the (kind of endlessly crashing) waves of anxiety about what I am doing/not doing right now... Thanks for it!

Matt wrote on Mar 16:

Brilliant Enrique -- I think you have managed to get to crux of this making/non making "schism" . Its also extra brilliant that a Lacan seminar should occur in a former Bishops house.