Page 37 - Fernando Sinaga. Ideas K

GM Your magnificent text Sincronicidad (Synchronicity), written in 1996, seems to me to be a manifesto against alienation, against the empty separation of the individual from what he produces, and also a declaration against the elitism of the unique work, is that a correct interpretation?
FS Maybe, though I never thought of it like that, as the Jungian theory of synchronicity has attempted to show how inexplicable conjunctions exist that introduce irrationality to our lives. They are unforeseen happenings
and unplanned events that are found in space and time like something that is not the product of will. Their reality is therefore difficult to interpret and their presence takes on the appearance of an extraordinary event. They
are coincidences without agreement, without a raison d’être, something inexplicable that seems to possess an extraordinary force of attraction and evocation. Their influence is auratic and magical, in keeping with their own inexplicable reality. A movement without cause that amazes us. I’m not really sure if, when writing this text, I was trying to topple the notion of author, although it seems fairly clear to me that I was seeking to introduce the idea that not everything that happens within the creative gravitational field is a product of one’s will.
GM Traces, “in absentia”, fire, light and ephemeral materials imply the inclusion of a certain “tempo” as a plastic element. However, it does not seem to be an interiorised time but rather an objective and historical time related to the idea of “inevitable” presences. Can you tell me about this very special “tempo”?
FS The disappearance of realities is a constant fact in our lives. Nothing remains, everything goes away and, at best, comes and goes, as our awareness is dampened by loss and, like a farewell, drives us towards a state of flight that causes us to live as if something were constantly slipping through our fingers. The exhibition Absent Life is a life that includes that which is no longer, a contramundum that seeks that which is behind the eyes.
GM Do you have the idea that an installation only functions when it alters the perception of space?
FS To my mind, an installation should not only modify the place where it is made and its final figure should not be limited to a perceptive or phenomenological exercise based on the experience of space. Making an installation does not consist in situating or positioning oneself suitably by settling the permanent difficulties that the place poses to us; an installation should be able to establish itself as a new space that displaces the consideration we had of the physical place that houses it, but it must know that that force doesn’t stem only from the
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